As part of Conjuring’s cinematic universe, The Curse of Llorona is beginning to feel the repetition. How many times will we see an evil spirit attack innocent beings before a religious figure thwarts his plans for death?
The resurrection is a credit to the cinema in this Easter season. Not from Christ, but from a disturbing white lady who spreads terror to children.
It is the Llorona, a 17th century Mexican legend about a woman who allegedly committed suicide after killing her two children. It comes back to haunt the living by attacking their offspring. This is what happens to Anna (Linda Cardellini), a social worker who will do everything to protect her son and daughter.
As part of the cinematographic world of Conjuring (there is even a completely free link with the first Annabelle), The Curse of Llorona is seriously starting to feel the repetition. How many times will we see an evil spirit attack innocent beings before a religious figure thwarts his plans for death?Too much is like not enough.
Unlike The Nun, which was a great success last year, this variation on well-known themes does not develop an atmosphere and atmosphere worthy of the name. Everything is a matter of free and weary bursts. Just like the techniques used to raise the tension, which only work two or three times maximum throughout the film. Between water, wind, mirror and light, redundancy is required.When the camera frames its characters closely, it is to make appear, in 99% of the time, the evil one behind them.
The latter is hardly frightening. Perhaps she should have sought advice from It’s clown to be more convincing. She is not the only one.None of the characters are really interesting, and their interpreters often leave something to be desired. The only exception is Linda Cardellini (Green Book), a protective mother.We should not expect a stunning performance like those of Toni Collette (Hereditary) and Lupita Nyong’o (Us).
Undoubtedly, the anonymous direction of Michael Chaves (who will take care of that of The Conjuring 3) is not there to help. But it is above all the deplorable script of Mikki Daughtry and Tobias Iaconis that hurts. After slaughtering the sentimental drama with Five Feet Apart, the duo is unable to grasp the essence of horror, grief, guilt and even motherhood, offering a condensed of predictable and superficial clichés.
Pending the release of the third installment of Annabelle this summer, we may have to reconsider the impact of this series, which began with the two very good episodes of Conjuring before losing much of its charm and interest. Along with the original Annabelle that was so ridiculous that it became funny, The Curse of Llorona turns out to be the least memorable entry of the lot. Despite the often laughable behavior of its characters, the whole takes itself far too seriously and it conceals few real shivers to satisfy the fans of the genre.