The cliches that reappear and expect you to welcome them with open arms left me crying out ‘Enough!’. Pacing is a real problem here, as the narrative seems to jump from one cliche to another and race for the earth-shaking denouement.Ĭardellini brings real strength to matriarch Anna, but her underwhelming character material cannot save her from being drowned by this westernized bore. As every exorcist should possess their own, personal crucifix, a director – especially of this genre – should push to leave their mark, instead of riding on the echoes of shrieking scares gone before. Blame must also fall to rookie writers Tobias Laconis and Mikki Daughtry for aiming to rake in the cash rather than whip up any scenario with substance. A single parent with two kids, alone in their seventies house fitted with 19th century lighting and I think you can fill in the rest of the plot details.Ģ017’s Veronica springs to mind when Spanish lore resurfaces, but the origin in Chaves first main feature concludes thin and shockingly unexplored. Linda Cardellini (remembered for being effortlessly deflated by Elle Woods in Legally Blonde) juggles parenting, social work and widowers grief whilst being tormented by the weeping woman of Mexican legend, La Llorono. While I worried that quantity over quality would become favoured in a market for first daters in search of their Friday night thrills, it would appear that this fear has surfaced again in light of the lack of originality, research and balls to dive deeper from Michael Chaves “not another jump scare movie”.Ĭue a prologue told in flashback and rush into the modern day to welcome down the Garcia family and their chance to win a whole new outlook on life, as they play Banish the Banshee. Living as a giddy Blumhouse geek – applauding their contribution to the paranormal horror genre – I merit most of the branches existing within the expanding Conjuring universe, despite a few hiccups landing beside its original double feature.
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