Creepy. Thrilling. Suspenseful. Conjuring.

My friends and I have been planning on seeing The Conjuring for a while now. There was quite a hype going around about how freaked this left a bunch of our friends, so I guess there was some level of expectation. I wasn't expecting much, though. This is the first "horror" movie I've watched in months (I never really saw the appeal in them, except when watching with friends), and it definitely did not disappoint for me.

At the end of the film though, my friends kept saying how it wasn't scary (which contradicted their screams from a few minutes before that lol) and how it does not compare to Insidious, a film which we all watched together two years before.

What my friends did not appreciate was what I liked about it: there actually was a story. It was developed and did not just focus on trying to scare the crap out of you with shocking music and sudden appearances by creepy-faced hags. I have to admit, I still found some scenes definitely cliched and corny.. It's not perfect, but it wasn't bad either, which is saying something because I've hated horror movies growing up.

[5.8/10] *The Conjuring* is a series of good scares in search of a good movie. If you’re after empty calories that will make the hair on the back of your neck stand up, then you’re in for a good time, but if you’re interested in things like character, or dialogue, or anything beyond a good spook, you’ll mostly be hunting for scraps.

They’re good scares though! They almost hold the movie up. Whether it’s characters being pulled across the screen as though moved by some invisible force, or blurry figures in the distance moving unnervingly but never able to be fully discerned, or the images of pale corpses hanging over one’s shoulder as perceived from beyond the grave, the film knows how to deliver a good frightening sequence.

The problem is there’s next to no one worth caring about in any of those sequences. At best, all of the characters are archetypes, with only the faintest hint of shading to give them a little personality. The main characters, such as they are, are Ed and Lorraine Warren, a pair of “demonologists” who take various “cases” of hauntings and try to solve them. There’s not much to them beyond a generic “the last time we tried this, you ended up bad shape” emotional subplot that’s handled as clumsily and obviously as a ghost knocking around in the basement.

Then there’s the Perron family, a mom, dad, and five daughters who recently moved into a haunted house when things start going creepily wrong. Roger Perron is a standard father character, roaming around as flat as can be, and Carolyn Perron is just as generic of a mom, with no discernible characteristics beyond the fact that she loves her children (which is, apparently, something so novel that the film takes great pains to tell the audience about it in no uncertain terms, because we couldn’t understand the concept of a parent loving their child without the movie holding our hand throughout).

Those children she love so much are five indistinguishable, undifferentiated daughters. The oldest one is generically sullen and sarcastic, but otherwise they’re just props for *The Conjuring* to place in various scary situations and have them scream or gasp or call out in terror. They’re flanked by a barely there cop, an assistant, and the Warrens’ own daughter, all of whom are little more than sentient window dressing.

The “based on a true story” tale sees mysterious things happening around the Perrons’ house, which naturally leads them to consult with the Warrens. From there, there’s the standard “there’s an evil entity here” business, with the ghosthunting crew digging up the convoluted history of the place where, shock of shocks, some grisly events happened in the past.

The instigating event (spoiler warning, boys and girls) is a murdered Salem witch who possesses women to have them kill their children. The intention of this motif is clear and solid, with this witch (subtly named “Bathsheba”) finding particular resonance with the clairvoyant Lorraine, who sees visions of her daughter’s death, and Carolyn who is, inevitably, the one who actually gets possessed by the evil spirit. The rub is that *The Conjuring* hammers this point home again and again, to where the possession of Carolyn is as predictable as its solution.

But if you’re not walking into the theater because you care about story or character, *The Conjuring* can be a lot of fun. The cinematography is an integral part of the film, using unique perspective shots to give the appearance of something just beyond the frame, doing *Vertigo*-style zooms, and turning things upside down or using tracking shots to convey movement and uneasy situations. The cameraman is arguably the most interesting and active character in the film, feeling like a real presence that gives the movie what grace it can muster.

The other side of the coin is that the movie is just too much. It doesn’t just feature a few interesting instances of hauntings. It gives you every haunting cliché you’ve ever seen. There’s dead dogs. There’s dead birds. There’s gnarled old ladies. There’s creepy little kids. There’s people floating. There’s people sleepwalking. There’s pictures falling off walls. There’s mysterious cellars. There’s crazy laughs. There’s creepy dolls. There’s snarling and cackling and garble-voiced threats. If you’ve seen a haunted house movie before, chances are whatever dramatic scare you witnessed has been stapled into *The Conjuring* somehow.

The same goes for that engrossing cinematography. While the occasional long take or flipped perspective can add juice to an otherwise stock scenario and setting, the omnipresent use of all that showiness can make a scene feel too busy rather than the desired level of chaotic, like director of photography John R. Leonetti is throwing everything on the wall and seeing what sticks. The same goes for Joseph Bishara’s score, which tells you exactly what you should be feeling and when you should be feeling it in a similarly over the top fashion.

It was also striking to me to discovery that *The Conjuring* was directed by James Wan, soon to join the D.C. Extended Universe film with his upcoming *Aquaman* feature, because all of that “more is more” visual styling and tin-eared dialogue made me think of one man, who’s also dabbled in the horror genre before jumping to superheroes -- Zack Snyder. It’s not just the presence of *Watchmen*’s Patrick Wilson here; everything from the alternating washed out and then high-contrast colors to all the usual sound and fury signifying nothing.

But again, it’s good sound and fury. On a pure pound-for-pound basis, *The Conjuring* knows how to make you sit up and take notice of all the ways it’s trying to creep you out, and that’s certainly worth something. It’s just a shame that all the creativity that goes into breathing these (admittedly stock) scenarios to life in terms of the effects and the visuals doesn’t translate to crafting any characters worth giving a damn about, or creating an arc that doesn’t rely on the standard beats and clichés. You’re bound to remember *The Conjuring*’s creepy moments when you’re falling asleep at night, but you’ll quickly forget the rest of the movie.

I'm currently watching the entire _Annabelle/Conjuring_ franchise and so far, this has been the absolute best of the lot. Keep in mind this is not a "horror" movie in the sense of a lot of killing and gore, but it's definitely creepy and I loved it for that reason. As a standalone, _The Conjuring_ does an excellent job in and of itself, without the need for any of the other movies. The acting was well-done, the soundtrack was pensive and foreboding enough (and didn't drown out everything else), but there were still plenty of moments that left you scratching your head wondering why it took them so long to figure out something was major whacked with that whole place. Who in the cat hair moves his entire family into a new house without (1) ensuring that the furnace works properly and (2) going through the entire place and its history...so as not to discover some weird buried cellar full of someone else's trash? Anyways, it was still a decent movie; undoubtedly the story was considerably embellished for Hollywood's glamorization of demonic possession, but if you can watch it as a good "creepy" movie and appreciate the fact that it _was_ based on actual events...I would definitely recommend this one.

An excellent film with an almost grueling sense of dread and a few appropriately placed jump scares. "The Conjuring" is so successful because it builds suspense and holds it there, keeping you on the edge of your seat. It makes you cover your eyes, but not because of the gore (there's almost none), but because you care about the fate of the characters.

This film packs a wallop, combining demonic possession, witchcraft, and a haunted house story. It also uses the "based on a true story" claim, which always adds to the creepiness factor.

James Wan's direction is skillful. The best sequences are the smallest ones. The two that come to mind are when one of the children sees something behind a bedroom door. She wakes her sister who is sleeping in a bed across the room. The sister openly stares at the same door and sees nothing. Wan lets us stare at that very same door, allowing us the same opportunity to see what is lurking there. It's a great example of the suspense that "The Conjuring" brings that other recent movies haven't.

An example of a well executed jump scare occurs during the game of hide and seek that the mother plays with the youngest daughter. The clapping combined with silence and the maze of hallways make it a perfect moment.

I watched this with my 18-year old. This is the kid that said that the "Evil Dead" remake wasn't scary. After we watched "The Conjuring" he said it was the scariest movie he'd ever seen. I asked him how that could be given all hype I'd seen about how the new "Evil Dead" was so disturbing. He replied that the "Evil Dead" was gory and shocking but not scary at all, while "The Conjuring" was frightening even with zero gore. This is exactly why "Horror" movies have lost there way and why the term "torture porn" is so appropriate.

It's November 1st, 1971, I'm sitting here with Carolyn Perron, who with her family, has been experiencing supernatural occurrences.

The key with The Conjuring is not that it has freshness on its side, as evidenced by the ream of horror fans arguing on internet sites about "nothing new on the table" , but while those fans will be going hungry for a very, very long time, The Conjuring does everything right for the splinter of horror it deals with.

There's a lot to admire about a horror film that in this day and age stands tall and proud against the ream of remakes, sequels and teen friendly slashers that "haunt" the multiplexes with all too much frequency these days. Free of gore and sex, this was automatically going to alienate a good portion of the lustful members of the horror fan base, but for those who like their horror served with appetising scares and a cauldron of suspense, then this delivers plenty to your particular table.

Forget the "based on a true story" tag, since it's kind of irrelevant in this new technological age, it's a selling gimmick that actually means "this story might be true and we might have played with it a bit". Regardless of hoax charges and embellishments, just buy into the premise, commit to it as a scary story in the same way as director James Wan has, for then the rewards are there for the compliant.

Story essentially is based around an investigation in the early seventies by paranormal specialists Ed and Lorraine Warren, who aided the Perron family as they were victims of dreadful supernatural events at their Rhode Island home. Wan builds it deftly, letting us into the Perron families lives as they move into what they believe to be a dream home. Then things start to happen, but again Wan builds it in slow instances, creating a palpable sense of dread, his camera work intelligent. So when the big moments come they have maximum impact and have us also yearning for the Warren's to get involved.

There is no over killing of the boo-jump scares, they are placed with care and marry up superbly with the mounting tension. Naturally all the cliché conventions of the haunted house movie are here, strange smells, creaky doors, ominous cellar and etc, yet these are supplemented with Wan's talented knack for a good scare and a very effective production design. From mysterious bruises and literal leg pulls – breath holding games of hide and seek – to bona fide pant soiling moments, The Conjuring is a lesson in sustained unease until the big finale is unleashed.

The script is devoid of cheese and pointless filler, itself refreshing in a horror sub-genre that suffers often with these problems. Joseph Bishara's musical score is an absolute nerve shredder, and again it's a refreshing accompaniment because it doesn't resort to telegraphed shrieks to tell us to be afraid, it never overwhelms a scene. John Leonetti's cinematography has Gothic textures, both in the house and outside of the lakeside farmhouse, while the strong lead cast of Vera Farmiga, Patrick Wilson, Lili Taylor and Ron Livingston come up trumps for sure.

Met with critical and box office success, The Conjuring justifies its reputation as a superb haunted house movie. 9/10