|2013||112 Min||Thriller . Horror|
Paranormal investigators Ed and Lorraine Warren work to help a family terrorized by a dark presence in their farmhouse. Forced to confront a powerful entity, the Warrens find themselves caught in the most terrifying case of their lives.
|Actors:||Lili Taylor , Vera Farmiga , Patrick Wilson , Ron Livingston , Hayley McFarland , Mackenzie Foy , Joey King , Shanley Caswell , Shannon Kook-Chun , Kyla Deaver|
I'd be shocked if we see a better horror film in 2013.
Like the wood-grained farmhouse itself — a beautiful piece of production design by Julie Berghoff — The Conjuring has an analog solidity that makes the terror to come almost unbearable.
Wan masterfully tightens the vise on the audience's nerves, using mood and sound effects for shocks that never feel cheap (the harmless kids' game of hide-and-clap has never been so bloodcurdling).
The dread gathers and surges while the blood scarcely trickles in The Conjuring, a fantastically effective haunted-house movie.
A sensationally entertaining old-school freakout and one of the smartest, most viscerally effective thrillers in recent memory.
The net result is an entertainingly frightening film that keeps the audience in a state of alarmed, but eager, anticipation.
The pervasive aura of creepiness more than compensates for the low body count and inventive use of sharp instrumentation.
The movie belongs to the women, for once, and The Conjuring doesn't exploit or mangle the female characters in the usual ways. Farmiga, playing a true believer, makes every spectral sighting and human response matter; Taylor is equally fine, and when she's playing a "hide-and-clap" blindfold game with her girls, she's like a kid herself, about to get the jolt of her life.
As an exercise in classical scare tactics, delivered through an escalating series of primo setpieces, The Conjuring is often supremely effective.
The Conjuring succeeds because of all that anticipation of dread things to come. The damned thing works you so well that you may even consider leaving halfway through, for fear you'll have a heart attack.
A sense of dread permeates The Conjuring from the start, and it’s delightful.
The handsomely shot, expertly button-pushing scare-fest has the polish and the cast to draw older audiences who grew up on shockers built from performances rather than CGI.
Wan has marshaled his crack sense of supernatural menace into making his most satisfying scare story yet.
It scared the living crap out of me. Only at the movies is that a compliment.
The Conjuring manages to place individuals in one isolated situation after another, where the editing and music are perfectly timed to capitalize on the payoff scare moment. We also get a level of writing and acting rarely seen in this genre, particularly when the mothers bond over the fiercely protective love that a parent feels for a child.
As horror movies go, The Conjuring is an extremely skillful, entertaining remix album. That's not an insult.
Classy old-school horror, James Wan’s The Conjuring depends more on its excellent cast and atmospheric direction than cheap gimmicks to raise hairs on the back of your neck. Which it does, quite frequently.
Whatever your belief system, this much is gospel: Movies like The Conjuring are less about the battle between God and Satan than the battle between the silly and the scary.
Unexpectedly fresh, alive, and vibrant - and wonderfully traumatizing.
An uncommonly intense and frightening experience, The Conjuring is the first genuinely scary release in ages by a major studio that features practically no violence and spills only a bit of blood.
The Conjuring is a throwback to old-school spine tingling, although this movie is less Halloween theme ride and more 1970s post-"Exorcist" terror.
The Conjuring, at points, is terrifying. Wan really understands how active, acrobatic camerawork can enhance the storytelling without breaking the fourth wall, a technique abused by today’s horror craftsmen.
With The Conjuring, [Wan] once more turns the familiar terrifying, making it easy to fear what’s behind that closed door, or under the bed, or just around the corner, making a creaking noise that doesn’t sound quite right.
With its forked tongue planted loosely in cheek, this haunted-house flick is enjoyably retro in both style and substance.
The Conjuring digs up no new ground — indeed, it seems almost proud of its old school bona fides — but it plows the classic terrain with a skill that feels a lot like affection. The ghost that’s really haunting this movie is nostalgia.
The Conjuring is like a prequel to 40 years of demonic possession thrillers.
Wan’s film is a sturdily built supernatural chiller, with next-to-no digital effects or gore, and it delivers its scares with a breezy lack of urgency.
Wan seems to critique the third act failings of The Conjuring during the alarmingly superior first half.
The big difference is that "The Exorcist" took the nation by storm with fresh ideas and brilliant filmmaking. The Conjuring conjures with amped-up echoes of old ideas, and represents a bet that they still retain their creepy appeal for today's audience.
As a ninth-generation descendant of Abigail Faulkner, a convicted Salem witch who only escaped execution because she was pregnant at the time, I call down a terrible malediction upon the people who made this entertaining but indefensible movie.
The Conjuring's problem, beyond its lack of a conjuring, is how its otherworldly hokum is stubbornly of this world.
Though The Conjuring claims to be based on a true story, in truth it's based on every horror film that's come before it.
If The Conjuring were less of a con job, horror fans would not feel equally as trapped.
The seen-it-all-before elements of this supernatural thriller directed by the filmmaker who gave us "Saw," however, are more hoary than horrific. It might as well be retitled "The Amityville Exorcist."
The Conjuring is as toothless as it is because it's two different kinds of boring. The film's plot is explained exhaustively whenever loud noises aren't blaring, and random objects aren't teasingly leaping out at you from the corner of your eye.
1. Time of the Season ( Performer: The Zombies )
2. Sleep Walk ( Performer: Bette Anne Steele (as Betsy Brye) )
3. In the Room Where You Sleep ( Performer: Dead Man's Bones )
4. So Cold ( Performer: Breaking Benjamin )
5. John Jacob Jingleheimer Schmidt ( Performer: Mackenzie Foy, Shanley Caswell, Hayley McFarland, Kyla Deaver and Joey King )
6. Tubular Bells ( Writer: )
7. Doll Box ( Performer: Joseph Bishara Itunes )
8. The Conjuring ( Performer: Joseph Bishara Itunes )
9. Annabelle ( Performer: Joseph Bishara Itunes )
10. Clap Game ( Performer: Joseph Bishara Itunes )
11. Family Theme ( Performer: Mark Isham Itunes )
12. Witch Perch ( Performer: Joseph Bishara Itunes )
13. The Soaring entities ( Performer: Joseph Bishara Itunes )
14. Murderous Offering ( Performer: Joseph Bishara Itunes )
15. Hanging Drop ( Performer: Joseph Bishara Itunes )
16. Ritual Casting ( Performer: Joseph Bishara Itunes )
17. Witch Comes Through ( Performer: Joseph Bishara Itunes )
18. Dead Birds ( Performer: Joseph Bishara Itunes )
19. Look What She Made Me Do ( Performer: Joseph Bishara Itunes )
20. Black Bile ( Performer: Joseph Bishara Itunes )
21. Taped Occurrences ( Performer: Joseph Bishara Itunes )
22. Sleepwalker ( Performer: Joseph Bishara Itunes )
23. Cellar Tone ( Performer: Joseph Bishara Itunes )
24. Touring Haunted planes ( Performer: Joseph Bishara Itunes )
25. Maurice ( Performer: Joseph Bishara Itunes )
26. She Saw Something ( Performer: Joseph Bishara Itunes )
27. Souls Pulled In ( Performer: Joseph Bishara Itunes )
28. Wall Searching ( Performer: Joseph Bishara Itunes )
29. You Look Very Pretty ( Performer: Joseph Bishara Itunes )
30. Water Corpse Vision ( Performer: Joseph Bishara Itunes )
31. Birds Pulled In ( Performer: Joseph Bishara Itunes )