Tag Archives: Jason Miller

American Nightmare

Ghosts of the Void

by Christie Robb

Jason Miller’s directorial debut Ghosts of the Void is successfully unsettling.

Jen (Tedra Millan, Daddy’s Girl) is barely keeping her shit together. She’s been supporting her husband Tyler’s (Michael Reagan, Lovecraft Country) ambition to become a novelist. He’d shown promise in college, but now they’ve been evited from their home and are trying to find an inconspicuous place to park for the night with only $40 and the contents of the car to their names.

They’ve driven to the “nice” side of town, just outside a country club’s fence. But physical proximity to the middle class will not be enough to secure their safety.

Jen’s not slept in weeks. They don’t have health insurance. And what’s with those creepy masked folks in the woods?

The film flashes back from the couple’s chilly car to scenes of the past, depicting the growing strain of the financial and creative pressures on their marriage and Jen’s growing emotional servitude to an unstable partner.

With a cast of just eight people and a very limited number of locations, Miller delivers an unexpected amount of creeping unease. Danger could come from multiple angles, so you find yourself scanning the screen, hoping to keep one step ahead of the jump scare.

Millan and Reagan deliver layered and realistic performances that keep the pace of this slow-burn of a character-driven horror moving.

With themes of financial and housing insecurity and lack of access to health care,  Miller really taps into the ways in which the American capitalist system can easily shift from an ambitious dream to a living nightmare.

Halloween Calendar, Day 31: The Exorcist


The Exorcist (1973)

The Exorcist gets a bad rap for being too Catholic, too traditional, anti-feminist. I read an account from a self-proclaimed Satanist who disliked it because the devil would never be so easily foiled. But for evocative, nerve jangling, demonic horror, you will not find better.

Director William Friedkin’s career is spotted with tepid-to-awful films, but when he cranks out a good one, look out. Hot on the heels of the verite action of his Oscar-winning The French Connection – a film that subverted expectations by casting seriously flawed heroes who don’t manage to resolve the film’s conflict – he made an abrupt left with this one.

Slow-moving, richly textured, gorgeously and thoughtfully framed, The Exorcist follows a very black and white, good versus evil conflict: Father Merrin V Satan for the soul of an innocent child.

But thanks to an intricate and nuanced screenplay adapted by William Peter Blatty from his own novel, the film boasts any number of flawed characters struggling to find faith and to do what’s right in this situation. And thanks to Friedkin’s immaculate filming, we are entranced by early wide shots of a golden Middle East, then brought closer to watch people running here and there on the Georgetown campus or on the streets of NYC.

Then we pull in a bit more: interiors of Chris MacNeil’s (Ellen Burstyn) place on location, the hospital where Fr. Karras’s mother is surrounded by forgotten souls, the labs and conference rooms where an impotent medical community fails to cure poor Regan (Linda Blair).

Then even closer, in the bedroom, where you can see Regan’s breath in the chilly air, and examine the flesh rotting off her young face. Here, in the intimacy, there’s no escaping that voice, toying with everyone with such vulgarity.

The voice belongs to Mercedes McCambridge, and she may have been the casting director’s greatest triumph. Of course, Jason Miller as poor, wounded Fr. Damien Karras could not have been better. Indeed, he, Burstyn and young Linda Blair were all nominated for Oscars.

So was Friedkin, the director who balanced every scene to expose its divinity and warts, and to quietly build tension. When he was good and ready, he let that tension burst into explosions of terrifying mayhem that became a blueprint for dozens of films throughout the Seventies and marked a lasting icon for the genre.

Remember the stories of moviegoers fleeing the theatre, or fainting in the aisles midway through this film? It seemed like hype then, but watch it today, experience the power the film still has, and you can only imagine how little the poor folks of the early 1970s were prepared.

Even after all this time, The Exorcist is a flat-out masterpiece.