His considerable talent wasted on Furious 7, director
James Wan is back in familiar territory with The Conjuring 2, an effective if
overlong thriller that contains many of the elements that have become hallmarks
in the filmmaker’s work. Just as in the Insidious series and the previous entry in this franchise, a family is in
danger, terrorized by supernatural forces, the purpose of which is a mystery. Figuring out why spirits from beyond are at
play makes up the bulk of most of these movies and The Conjuring 2 is no
exception, to its detriment. It takes
far too long for the ghost-busting married, the Warrens, to put all the pieces
together this time around but thankfully, Wan constructs one chilling set piece
after another to keep the audience on the edge of their seats.
No stranger to controversy, paranormal investigators Ed and
Lorraine Warren (Patrick Wilson & Vera Farmiga) find themselves in the
middle of a media maelstrom in 1976 when they claim there may be some validity
to the famous haunting in Amityville, New York. While both are used to the
disbelief of skeptics, this isn’t what’s bothering Lorraine; no, something dire
occurred to her while investigating this infamous home as she caught sight of a
particularly malevolent spirit and experienced a premonition that has her
fearful for her husband’s life. So when
a request comes their way to help a family in England that’s being plagued by
inexplicable events, she’s reluctant to help.
Lucky for the Hodgson’s, Ed convinces his wife to accompany
him as they are in dire need of her expertise.
The youngest daughter of the family, Janet (an excellent Madison Wolfe) is
being terrorized by nightmares, bouts of sleepwalking and ends up somehow
teleporting from location to the next in the rundown house where she, her
mother (Frances O’Connor) and three siblings live. Things reach a fever pitch
when she and others spy the ghost of an old man who demands they leave “his
house,” claiming that, while dead, he’s unable to move on.
If the film has a fault, it’s that Wan spends a bit too much
time setting the scene. While each of
the moments involving supernatural shenanigans is effective, they have an
adverse effect on the pacing of the film.
There’s never a sense that we’re rushing headlong towards some final
reckoning; rather this is a steady, efficient march that, while interesting,
lacks a sense of urgency.
Be that as it may, there’s no question Wan delivers some
satisfying jolts along the way as well as a moment or two that will literally
give you goosebumps. The spirit haunting
both Lorraine and the Hodgsons, Valik, is a disturbing creation that takes
pleasure in terrorizing those in its sights.
This is never more obvious than in a scene in which Lorraine is stalked
by the ghost in her own home, the wraith ultimately manipulating a portrait Ed
has painted of it. Also memorable is an
attack in the Hodgson’s flooded basement as well as the prolonged climax, which
ultimately proves that Valik and Lorraine are worthy adversaries.
There’s nothing new here, but it is extremely well
done. Wan is perhaps the best filmmaker
working in the horror genre today, as he’s able to meld old-fashioned
techniques with the newest technology for maximum effect. Just when you think you know where the
boogeyman in question is about to leap, the director tricks us again and again,
making the audience leap from their seats as if on command. Fans of his work wouldn’t have it any other
way.
This article appears in Jun 9-15, 2016.
