ByLee Burke, writer at

With the great things I’ve been hearing regarding The Conjuring, I felt this was a film that needed to be seen on its grandest scale. Unfortunately my previous experiences with horror films in cinemas (The Woman In Black, a recent albeit terrible noteworthy example) came true immediately. But, it says a lot about the quality of a film such as The Conjuring that I was able to escape these cinematic drawbacks and experience something extremely intimidating. I say it without doubt that Wan, once again, has created something of definitive force and fearsome dread.

Like my recent encounter with Wan’s 2011 Insidious, his primitive horror initiative is there for all to see. This is a man, who unlike most of this century’s directors, shows his infatuation with his genre. And that’s why it works so magnetically. His love for the genre is displayed throughout as he channels elements from previous successes (The Exorcist the obvious example) and yet he derails the clichés of terror to portray fear by his own mind, and through his own eyes. It’s catered majestically as we witness the qualities of horror in all their memorable occurrences, but more so it’s notable to praise Wan’s film for avoiding cheap scares at all costs. He examines the situation, almost putting himself in the seat of the viewer and taking them on a ride of mesmerising prominence.

His figurative imagination and bravado is illustrated by the film’s use of unsettling imagery and claustrophobic forces – all laced with a menacing score and a quite terrifying use of framing. The Conjuring settles itself down after the scene is set and it all unfolds into this magnificent dose of bloodshed and masterful horror set pieces (Wan’s staging impressed me during Insidious) to create something of unforgettable stature. I can’t wait to experience this again all by myself and see if the explosive force and uncompromising aspects of the film grow even stronger when uninterrupted by a selfish audience. One more thing: Lili Taylor is terrific.


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