If that point had never happened, I could have more easily dismissed the third installment of “The Conjuring” – a consecutive chapter after a number of spin-offs like “Annabelle” and “The Nun” with varying degrees of intelligence, skill and fear – like a horror movie that doesn’t bother to live up to its breathtaking origins. Again, this release manages to function as a mediocre crime thriller to an extent; but one with too many suspects and heartbreaking incidents-in-incidents. A mysterious serial murder case emerges amid the puzzling tone of the film, and someone quite obsessed with its puzzling details must willingly descend into the rabbit hole to smash it.
But who the hell really wants the new “The Conjuring” to be downgraded to a simple thriller anyway, when its original predecessor is still one of the 21’s brightest, scariest horror films.st century? If you’re not that person, it’s unlikely that this film’s array of spooky jumps and uninteresting secrets that culminate in short-lived thrills will impress you, despite some successful effects and sleek camera work from the director of Michael Burgess photography. Still, “The Curse of La Llorona” filmmaker Chaves gives it a shot, directing Patrick Wilson and Vera Farmiga as they once again portray paranormal investigators Ed and Lorraine Warren wrapped up in a story-based case. true. The prologue takes place here in 1981, when the exorcism of teenage David Glatzel (Julian Hilliard) leaves Arne Johnson, a good-humored young man in a relationship with David’s sister Debbie (Sarah Catherine Hook), haunted by the grip of an Evil Force. When Arne commits a gruesome murder as a result of the events that use too many recognizable visual winks to “The Exorcist” (including a ridiculously obvious photo of a priest standing near a soft lamppost with a suitcase in hand), the Warrens slowly uncover similar crimes that took place in the area. So they embark on a quest to prove to Arne’s worried lawyer that Arne was actually possessed while he was committing the crime. (Her actual case apparently marks the first time in the United States where demonic possession has been used as a defense in a court case.)
Screenwriter David Leslie Johnson-McGoldrick adds many references to “The Conjuring” universe in his screenplay, including an inspired joke with Ed suggesting introducing Arne’s skeptical lawyer to the cursed Annabelle doll to clarify a few. of his questions. But eventually, the story struggles through the hands of a strange, intermittent rhythm that feels almost episodic as the Warrens team up with local police, knock on doors, venture into the forest, crawl through basements, and collaborate with customaries. religious to follow in the footsteps of the devil. The basic idea is overloaded and overwhelmed, eventually losing its grip on audiences, especially when the plot ventures into another similar murder case between two girlfriends and wanders away from the main event for long periods of time. and boring periods of time. So much so that when Ed and Lorraine understand the witchcraft nature of their case, you might run out of reason to care about their mission, or worse, forget what they were originally looking for. Things don’t improve much even after the appearance of the creepy occultist and wizard Eugenie Bondurant.