THE CONJURING (Wan, 2013) and Women in Horror: A New Twist?

From August 2013:

I’m not sure if it’s a “new trend” just yet, but the recent spate of horror flicks where the central conflict is between women is injecting a little life and emotional weight into the genre. The hilarious Drag Me To Hell, the spectacularly gory Evil Dead remake, the imaginative Mama and now The Conjuring. While not nearly as petrifying as the preview would lead you to believe, Conjuring’s plot, which links the fates of three mothers, nonetheless crackles. Especially effective is how the movie fattens up–rounds out the motivations–of the exorcists. And the production is high end. Spotless visuals make this a “quality” upgrade to what is, for all intents and purposes, a fall release. But this one deserves the praise it’s getting for being a summer surprise. I only wish that another trend, this one frustrating, would end: why is it that James Wan, much like Pan Chan-wook in the dire Stoker, seems to lose his visual sense–to abandon the stimulating patterns of camera movement and editing–after the first 45 minutes?
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