Friedkin's cyclical, almost Kafkaesque insistence that politics revolves around now globalized, corporate power delegating hired guns to do under-the-table bidding across national boundaries announces itself through the soundscape.
Is it any wonder the film slipped into obscurity almost immediately after release? With the number of issues that pile up by the end of these two hours, an incredibly misleading title ends up being the least of its worries.
Breathtaking in its cinematography, production design and sound work, Sorcerer is a worthy contender for the film with the most suspenseful set-pieces in Hollywood history - if such an arbitrary title existed.
The new movie is handsomely shot and crisply edited. Why, then, does one rather distantly respect it instead of just plain liking it? It is an odd, disappointing feeling to take away from a summertime movie.