![]() The Curse of La Llorona has some nice shots, some effective use of light and darkness, a palpable mounting sense of dread, and solid thematic cohesion underpinning it all. The Curse of La Llorona is quite effective in this regard, Chaves carefully mixing the ingredients to create something the tastes relatively pleasant. Perhaps they mixed up the measurements some flavours are a little too strong, while others feel underdeveloped. ![]() Although none of the films in the series leave a particularly sour aftertaste like the worst of template horror films, films like The Nun or Annabelle often feel like they’ve misread the recipe for a successful Conjuring film. To be fair to the franchise, which is often overlooked in discussions of the modern cinematic landscape, even the worst of the Conjuring films tend to just be dull rather than actively bad. ![]() There’s something endearing in the reliability, in the care with which the film strikes these sorts of balances. The Curse of La Llorona is well-made, efficient, and delivers what the audience anticipates from a Conjuring spin-off. The film knows the formats and rhythms of a horror film, and director Michael Chaves knows both what the audience expects and how to work within that format to build a genuine and compelling sense of dread. ![]() The Curse of La Llorona strikes that balance relatively well. The challenge with The Curse of La Llorona lies in offering audiences something that satisfies all their expectations of a film like this, while still offering a few shocks and starts along the way. It takes a lot of work to satisfy the competing demands of the two genres the shock of horror with the familiarity of blockbuster storytelling. ![]() Again, discussing The Curse of La Llorona in such terms might seem cynical, but it is genuinely striking. There is a reason that these films are released during the summer months, as counter-intuitive as that might seem. ![]()
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