#4: The Exorcist III (1990)
The second sequel to William Friedkin's The Exorcist (1972) starts as a zippy comedy, transforms into a moving film about faith, regret, ageing and friendship, then becomes a ghoulish noir (set almost exclusively in a mental hospital) and arrives at a Studio-compromised special effects finale. Somewhere along the way, director William Peter Blatty (adapting his own novel, Legion) produces this singular dream sequence: part premonition, part exorcism of guilt, the imagery a disturbing mixture of Catholicism and crime scenes.
Two have already been killed by the reincarnation of the Gemini Killer. Detective Kinderman (George C. Scott) is on the case. A rosary and a snow globe fall into blackness. Then we enter a grand hall, full of hospital beds and angels, with a huge train timetable on the wall. Three old women play the piano. A blind man (Samuel L. Jackson!) exclaims: 'the living are deaf!' Kinderman meets his friend, Father Dyer, who's reading tarot cards with a solemn angel. His head appears to have been sewn together, with cartoonish, doll-like stitches. Kinderman says good-humouredly, 'I wonder if we're both dreaming this.' 'No, I'm not dreaming,' Father Dyer replies.