{"id":1104,"date":"2026-07-22T16:11:29","date_gmt":"2026-07-22T16:11:29","guid":{"rendered":"https:\/\/relocationacrossamerica.com\/?p=1104"},"modified":"2026-07-22T16:11:29","modified_gmt":"2026-07-22T16:11:29","slug":"obsession-hasnt-earned-classic-status","status":"publish","type":"post","link":"https:\/\/relocationacrossamerica.com\/?p=1104","title":{"rendered":"\u201cObsession\u201d hasn\u2019t earned classic status"},"content":{"rendered":"

Just after the Christmas holiday in 1973, audiences across America donned their winter coats, braving the cold on a mission to see the film that was making viewers faint in their seats and walk out of theaters trembling: William Friedkin\u2019s horror masterpiece, \u201cThe Exorcist.\u201d The film was such an instant, massive sensation that local news stations around the country sent reporters to interview audience members in theater lobbies and prospective viewers standing in long lines stretching far past the box office.\u00a0<\/p>

Read more Can Andy Burnham save Britain? Wait, what would that even mean?<\/a><\/p>\n

One woman waited for four hours, only to come out of the theater with her voice and legs shaking; another said she drove 100 miles for the experience. In a piece for Dallas\u2019 ABC affiliate, correspondent Patti Burns said: \u201cNo one knows exactly what makes a movie a hit. But one thing is for sure: \u2018The Exorcist\u2019 has got it.\u201d<\/p>\n

In the 50 years that have followed, audiences have become somewhat less susceptible to scares, but no less susceptible to phenomena. If a film can conjure a significant enough buzz, people will want to see it, no matter the reason for the hype. Take \u201cAvatar,\u201d which seduced audiences with its immersive 3D format so intensely that some viewers reported experiencing depression returning to the real world. The buzz around \u201cHereditary\u201d was aimed at viewers looking to be scared \u201cExorcist\u201d-style for the new age. Films like \u201cThe Brutalist,\u201d \u201cOne Battle After Another\u201d and \u201cThe Odyssey\u201d are luring some audiences with old-school intermissions and grand formats like VistaVision and IMAX film stock. When it comes to movies, people will buy into a marketing narrative just to experience it themselves, but that alone isn\u2019t enough to call a movie an all-timer. If box office returns and cultivated hype automatically constituted a place in the pantheon of great films, Curry Barker\u2019s runaway horror hit \u201cObsession\u201d would deserve to be called a new classic \u2014 but they don\u2019t, and \u201cObsession\u201d doesn\u2019t.<\/p>\n

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\"\"<\/figure>\n

(Focus Features)<\/span> Inde Navarrette as Nikki in \u201cObsession\u201d<\/p><\/div>\n

\n

\u201cObsession\u201d is a pulpy, prodigious summer hit that checks boxes without posing any new questions. It\u2019s a film that observes without commenting. And it\u2019s that lack of curiosity for the world it exists in that will ultimately keep \u201cObsession\u201d from competing with the true classics.<\/p>\n<\/div>\n

Though that hasn\u2019t stopped audiences and critics from making constant comparisons between \u201cThe Exorcist\u201d and \u201cObsession.\u201d And for what it\u2019s worth, there are similarities in the initial responses to both films. After a solid opening weekend in early May, word of mouth turned \u201cObsession\u201d \u2014 made for just shy of $1 million \u2014 into a bona fide success almost overnight, with box office grosses climbing as the summer went on. As of this week, the film has surpassed \u201cThe Exorcist\u201d in worldwide box-office gross (before inflation). Reddit threads tout the film as a modern classic, measured against the standard \u201cThe Exorcist\u201d set, and more formal writing draws worthy comparisons between Linda Blair\u2019s unforgettable performance and newcomer Inde Navarrette\u2019s work in \u201cObsession.\u201d<\/p>\n

But all of these praises are missing a key point in determining which movies can be deemed true classics, something that \u201cObsession\u201d never quite manifests: a sharp yet unexpected correlation between the film and the world it\u2019s released into. Barker\u2019s film, about a young man named Bear (Michael Johnston) who makes a wish on a cheap novelty toy for his crush, Nikki (Navarrette), to fall in love with him, has occasional flashes of shrewdness. A product of the YouTube generation, Barker has an innate understanding of both technology and how it affects our modern mores. This knowledge supplies his screenplay with a sturdy base on which he crafts his story of parasocial fixation and all its consequences.\u00a0<\/p>\n

But just because a movie is relevant doesn\u2019t mean it\u2019s eternal. \u201cObsession\u201d is a pulpy, prodigious summer hit that checks boxes without posing any new questions. It\u2019s a film that observes without commenting. And it\u2019s that lack of curiosity for the world it exists in that will ultimately keep \u201cObsession\u201d from competing with the true classics.<\/p>\n

Standing outside that Dallas theater five decades ago, Patti Burns asserted that \u201cno one knows exactly what makes a movie a hit.\u201d At the time, that may very well have been true; in some ways, it still is. Despite the medium\u2019s many scholars and the mathematicians working hard to calculate box office predictions and forecast trends, film is not an exact science. Plenty of movies are predicted to do well \u2014 or, like this year\u2019s \u201cThe Bride!,\u201d perform at least decently \u2014 yet bomb their opening weekend. Others, like \u201cObsession,\u201d catapult from modest beginnings into an echelon of popularity that not even the academics and historians could\u2019ve foreseen.\u00a0<\/p>\n

But in all of the time since \u201cThe Exorcist\u201d dominated theaters for months on end, patterns have emerged \u2014 beyond theatergoers\u2019 responses, box office returns or even industry accolades \u2014 that point to why some films can be considered classics. \u201cThe Exorcist\u201d was one of the first major films of its kind. Friedkin\u2019s movie shifted people\u2019s perceptions about fear and played with longstanding ideas about the nuclear family and religious ideology, themes that were starting to be contested and debated as America moved further from \u201950s-era sterility. That the film also had gruesome practical effects, brilliant lead performances and an unforgettably chilling score helped, too. By being both uniquely pertinent and terrifying, it\u2019s fair to say that \u201cThe Exorcist\u201d is not just a horror classic, but an all-time classic in the history of cinema.\u00a0<\/p>

Read more \u201cPrincess Mononoke\u201d is a warning we didn\u2019t heed<\/a><\/p>\n

And if you look at other films that share that distinguished stature \u2014 \u201cTitanic,\u201d \u201cCitizen Kane,\u201d \u201cThe Wizard of Oz,\u201d \u201cThe Social Network,\u201d \u201cRear Window,\u201d to name a few \u2014 it becomes somewhat easier to find the cultural throughline they all share, that irresistibly magnetic aspect that makes them classics. \u201cTitanic\u201d made audiences understand why historic catastrophes are also intimate tragedies. \u201cCitizen Kane\u201d posited that all media moguls are driven by a lust for power that stems from an irreparable brokenness. \u201cThe Wizard of Oz\u201d reminded viewers of the necessity for imagination and metaphor at the end of the Great Depression and dawn of a new war. \u201cThe Social Network\u201d prophesied a new era of digital media pollution at the hands of an antisocial egomaniac, updating \u201cCitizen Kane\u201d for the world\u2019s next tectonic shift. \u201cRear Window\u201d measured the consequences of humanity\u2019s voyeuristic preoccupation with the macabre.\u00a0<\/p>\n

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\"\"<\/figure>\n

(Focus Features)<\/span> Inde Navarrette as Nikki in \u201cObsession\u201d<\/p><\/div>\n

\u201cObsession,\u201d on the other hand, wags its finger at projecting a fantasy onto your crush. Doesn\u2019t exactly measure up to the enormity of the classics, does it?<\/p>\n

It depends on who you ask. I don\u2019t think it\u2019s entirely unfair to say that a large portion of the effusive response to \u201cObsession\u201d has been from younger viewers getting their first taste of topical horror gore shocks. This is a movie made by a Gen Z director, geared toward his younger peers, many of whom are navigating romance in the digital age. Of course the movie would be a hit with those who spend a good portion of their time online. And given that so much contemporary movie marketing incorporates Letterboxd reviews, social media reactions and those 30-second ad spots where nightvision cameras capture terrified young viewers jumping back in their seats \u2014 a move \u201cObsession\u201d also utilized \u2014 Barker\u2019s film had the youth viewership locked up. From a distance, the movie has the makings of a classic. But a closer look quickly reveals that \u201cObsession\u201d is a classic for the digital era, which is to say, a movie whose \u201cclassic\u201d status is as ephemeral as any internet trend.<\/p>\n

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\u201cObsession\u201d wags its finger at projecting a fantasy onto your crush. Doesn\u2019t exactly measure up to the enormity of the classics, does it? It depends on who you ask.<\/p>\n<\/div>\n

\u201cObsession\u201d is certainly entertaining, which helps bolster it in the audience\u2019s eyes. It boasts two great lead performances, and its shoestring budget makes the entire production all the more impressive. But clever craftsmanship and a talented team aren\u2019t enough to call something timeless. Barker\u2019s screenplay is sorely lacking the imagination and ambition needed to stake its place among the true classics, horror or otherwise.\u00a0<\/p>\n

Throughout the film, as Bear witnesses the violent repercussions of his tossed-off love wish, Barker continually gestures at the story\u2019s significance. It\u2019s hard to date in a world where everyone makes an image of themselves online that isn\u2019t exactly true, and yet, that image remains the one doe-eyed suitors like Bear opine. Duh. If that were an innovative idea, we\u2019d have been worshipping at the heels of last year\u2019s equally topical yet no less trite sci-fi horror \u201cCompanion.\u201d It\u2019s not enough for a film to explain its meaning; it must also say something about that message and its broader significance to stare down the \u201cclassic\u201d label. \u201cObsession\u201d never manages to say anything that hasn\u2019t been said in five more interesting ways by other recent films, several of which were released this year.<\/p>\n

Be it measured by box office gross or word of mouth buzz, popularity isn\u2019t enough to define a classic. No one outside the Marvel fan ecosystem is arguing that \u201cAvengers: Endgame,\u201d one of the highest-grossing films of all time, is a cinematic masterpiece on par with the all-time great classics. And yet, \u201cObsession\u201d is sticking in those conversations, even generating some light award buzz way ahead of Oscar season. This isn\u2019t a bad thing, per se. I found \u201cObsession\u201d to be somewhat misogynistic in its execution, but I don\u2019t think its popularity is a bad thing at all. If anything, it\u2019s great that the film has people talking, excited to go to the movies again after too many years wondering if theaters could survive the rise of streaming.\u00a0<\/p>\n

But popularity isn\u2019t enough to define a classic. And though a film\u2019s contextual significance is an important part of determining what is and isn\u2019t a timeless movie, applicability isn\u2019t everything, either. The fact is, only time can cement a true classic. For all its immortal ideas and all those outsized news reports of people fainting, \u201cThe Exorcist\u201d could\u2019ve faded from memory if so much of what came after didn\u2019t prove to be a cheap imitation. Perhaps the same will be true with \u201cObsession\u201d; Curry Barker\u2019s copycats will try and fail to interpret the trials of dating when personality is a facade, and I\u2019ll be left eating crow. But judging by Barker\u2019s shallow screenplay, I doubt that it will be too long before someone digs deeper, striking an unassailable, solid-gold classic.<\/p>

Read more The \u201cOdyssey\u201d casting furor obscures a deeper history<\/a><\/p>\n

\u201cObsession\u201d is now streaming on Peacock.<\/em><\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

A true cinematic classic must meet its moment in unexpected ways. “Obsession” merely winks at it<\/p>\n","protected":false},"author":1,"featured_media":254,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[17],"tags":[4,438,321,439,440,26,441,1439],"class_list":["post-1104","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture","tag-commentary","tag-curry-barker","tag-horror","tag-inde-navarrette","tag-michael-johnston","tag-movies","tag-obsession","tag-the-exorcist"],"yoast_head":"\n\u201cObsession\u201d hasn\u2019t earned classic status - Relocation Across America<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationacrossamerica.com\/?p=1104\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u201cObsession\u201d hasn\u2019t earned classic status - Relocation Across America\" \/>\n<meta property=\"og:description\" content=\"A true cinematic classic must meet its moment in unexpected ways. 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