Then La Llorona (Marisol Ramirez) starts stalking Anna's own kids (Roman Christou and Jaynee-Lynne Kinchen), and, in desperation, the mom turns to a priest-recommended faith healer. When a distraught client (Patricia Velasquez) blames her sons' drownings on the phantom, Anna assumes the woman is an abuser in denial. The screenplay, by Mikki Daughtry and Tobias Iaconis ( Five Feet Apart), doesn't specify who signed off on this form of damnation.īut, since God and the devil most definitely exist in the Conjuring universe, perhaps we can assume the Almighty was A-OK with sending La Llorona to test the parental mettle of Anna Tate-Garcia (Linda Cardellini), a widowed social worker in 1973 Los Angeles. "La Llorona" ("the weeping woman") is a figure in Mexican and Latin American folklore who, according to the film, killed her own children to punish a cheating husband, then was "cursed" to walk the Earth as a child-snatching phantom. If you're on the couch at home, this movie is fine to doze off to, and that's about it. Witness The Curse of La Llorona, which is linked to the hit series by a reference to the evil doll Annabelle, a production team and director Michael Chaves (who helmed forthcoming The Conjuring 3). The Conjuring movies turned these formulas into a science, at their best milking them for genuine shudders.
If a main character is alone, framed for several beats in shallow focus, look for the Scary Thing in the background. (When it's not time for anything scary to happen yet, the sound mixer will simply turn an innocent Foley effect - in The Curse of La Llorona, the clatter of a bead curtain - up to 11.) If there's a reflective surface, expect the Scary Thing to appear there. All the beats are so soothingly predictable: If the soundtrack goes quiet, expect a jump scare in approximately 10 seconds. I suspect every fright fan has had the experience of dozing off streaming a crappy horror movie.
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