The Exorcist, the box-office scare champ until The Sixth Sense, is back in theaters with eleven additional minutes and digital sound. For some, this 1973 tale of demonic possession will evoke tender nostalgia for a time when it was still shocking to watch a twelve-year-old girl (Linda Blair) stab her vagina with a crucifix in the presence of her movie-star mom (Ellen Burstyn) and tell a priest (Jason Miller) that his "mother sucks cocks in hell." For a new generation, the film, directed by William Friedkin from an Oscar-winning script by William Peter Blatty, who wrote the novel, will stir the same debate: Is the film a provocation about the nature of good and evil, or horror claptrap? To me, it's always been both. Still, there's something elemental about The Exorcist, even with the new hopeful ending that betrays the bleak original. Go ahead — critique, discuss.

“The A Team”

This debut track from the then-20-year-old British singer-songwriter has a dark story behind it. Sheeran says he culls songwriting inspiration from "viewing other people's situations," which, for the heroine in "The A Team," involves drug addiction and prostitution that began as a teen. Sheeran paints the woman's trials with haunting imagery such as "But lately her face seems/Slowly sinking, wasting/Crumbling like pastries." "I did a gig at a homeless shelter, [and the song] is about one of the women there. It's her story," he said.