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What panics you? It’s pretty clear what frightens James Wan. The director’s work frequently recalls hits from the 1970s and 1980s like “The Omen” and “Poltergeist,” which clearly shaped his sense of cinematic terror. In numerous ways, “The Conjuring 2” is “a definitive James Wan film,” permitting the movie producer to play with styles of the time in the retelling of perhaps of its most eminent paranormal action: the famous Enfield phantom.
Having the option to tie the “genuine story” behind one more ghastliness exemplary from his childhood to this one (“The Amityville Repulsiveness”) just adds to the arrangement. Even though “The Conjuring 2” lacks the visceral, confident impact of the original, Wan’s talent—along with that of his team—make this kind of ride enjoyable. Wan is like a kid in a haunted candy store with it.
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“The Conjuring 2” opens with infamous ghostbusters Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) researching the fallout of the homicides that became known as “The Amityville Ghastliness.” Lorraine has been asked to confirm that what happened at Amityville was demonic and not just a homicidal patriarch because she has a unique ability to communicate with supernatural beings.
While lounging around a table in the DeFeo lounge area, Lorraine has an otherworldly encounter that permits her to see the shotgun kills that occurred in the house and a “Devil Pious devotee” (Bonnie Aarons), which is in a real sense how the repetitive vision is recorded in the credits, who will torment Lorraine all through the film, and issue an admonition that Ed’s days are numbered.
The action moves to Enfield, England, following the Amityville prologue. We know we’re in England because Wan uses “London Calling” as the soundtrack, an obvious choice that’s more fun than annoying—he was never a very subtle director. We meet the Hodgson family, which includes four children and is led by Peggy (Frances O’Connor), a single mother. One of the young ladies is Janet (Madison Wolfe), and she begins to have a lot more serious issues at home than when she was found smoking by her instructor. It starts out as sleepwalking, moves on to making noises in the middle of the night, and eventually becomes possession.
Bill Wilkins (Bob Adrian), a man, appears to be able to take over the poor girl’s body and even communicate with her through her. As a result, some famous recordings feature a young girl who clearly resembles an elderly man. What’s more, that is not even close as frightening as the crosses that flip around or the dreams of the “Screwy Man.” The Warrens are contacted by the authorities, and they travel to England to determine if the Hodgsons are faking the haunting or to prevent them from becoming the next Amityville.
An elderly house, children in danger, and a rude mother Sound familiar? It ought to. Because O’Connor’s character isn’t given nearly the depth that Lili Taylor’s character was in the first film, Wan and his screenwriters purposefully hit many of the same beats. This results in a set-up that frequently feels overly similar to the first film. In that film, Taylor’s underappreciated performance contributed to grounding the fear tactics in reality.
The characters in “The Conjuring 2” are optional, presented with minor definition (mother stresses over cash, one of the young men stammers, and so forth.) and then put-upon to the point where it is necessary for the Warrens to save the day. The characters in “The Conjuring 2” don’t resonate, so we don’t care as much about what happens to them, despite Wolfe’s excellent efforts to capture the fear of a girl who doesn’t know what’s going on and to be truly scary when she needs to be.
However, this does not mean that Wan has completely lost his ability to frighten us. Wan and his team have an incredible capacity to create fear through camera tricks and forced perspective in collaboration with master cinematographer Don Burgess, who is a frequent collaborator of Robert Zemeckis on everything from “Forrest Gump,” for which he was awarded an Oscar, to “Flight.” They’ll start with a shot of a room, zoom in on a person’s face, and then zoom out quickly to show that something important has changed. They keep away from customary, bounce alarm alters, knowing that it’s a lot more unnerving to remain in a single shot as the typical world becomes startling around and in it.
Additionally, they enjoy playing with supernatural POV—that floating camera above the house’s action—as well as what they let us see. Wan and Burgess keep a firm grip on Ed Warren’s face during a fantastic scene in which Janet may or may not be possessed by Bill in the background, allowing our imaginations to work on what’s going on behind him.
A fire engine toy moving on its own, a dog bell that every modern horror viewer knows will eventually signal danger, and the sound of someone or something whistling “This Old Man” are all examples of Wan’s playful camera work at its best, creating the kind of thrill ride the director is clearly trying to imitate. He didn’t just make a movie about the 1970s; he also uses cinematographic techniques from that era, like “The Omen” and “The Shining,” but with a modern perspective.
It’s not that “The Conjuring 2” doesn’t live up to the films that inspired it or the original; rather, Wan and co. are almost having too much fun to streamline their film, which is why it doesn’t live up to the films that inspired it or the original. The movie is incredibly long, and it could have been cut by at least 15 minutes to make the ride shorter and scarier. On occasion, the constant tormenting becomes desensitizing, diminishing its capacity to unnerve.
The ride is worth taking because of Wan and his team’s dedication, as well as Farmiga and Wilson’s total dedication to their sometimes silly roles, but “The Conjuring 2” can be too familiar to get under our skin. Although ghost stories don’t have the same impact the second time you hear them, it is an extremely technical piece of filmmaking that will suffice for many Wan fans (and those of us who are tired of Hollywood horror films that frequently demonstrate no filmmaking prowess at all). even the frightful ones.
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