The Believers

A bizarre, occult thriller about the implications of religious faith. And, though it doesn't expand upon its shock tactics as much as it would like to or make its theological points, the movie's dread atmosphere begins to seep into your head. Read full review

While the film completely unravels shortly after the opening scene, there a few good performances (notably from Robert Loggia) and the gorgeous cinematography of Robby Muller to cling to as it sinks into a confused abyss. Read full review

The movie was attractively filmed by John Schlesinger, but the subject matter is stultifying and not the least bit spooky. [12 Jun 1987, p.A]

The occult thriller boasts snazzy photography, passionate acting and considerable suspense. But like Marathon Man, it is empty. This pulp never rises above being pulp. [10 Jun 1987, p.D7]

John Schlesinger has directed Mark Frost's screenplay with great technical skill, constructing highly charged suspense scenes. Robby Muller's cinematography also stands out. The violence is disgusting even by recent standards, though, especially since much of it is aimed at children. And the portrait of a barbarous Afro-Hispanic religion will hardly ease tensions in this time when racism and xenophobia are already rampant. [12 Jun 1987, p.21]

John Schlesinger, who directed Midnight Cowboy and Marathon Man, knows how to weave edge-of-the-seat tension. But Mark Frost's screenplay, based on Nicholas Conde's occult mystery novel The Religion, is a haphazard affair of implausibility and pseudo-Voodoo. Read full review

The Believers is the type of movie that generates shocks more successfully than it tells a story. [10 Jun 1987, p.1D]