The Conjuring 2 Review: London Calling


Director: James Wan

Writers: James Wan, Chad & Carey Hayes, David Leslie Johnson

Stars: Vera Farmiga, Patrick Wilson, Frances O’Connor, Madison Wolfe

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Release date: June 9th, 2016

Distributor: Warner Bros. Pictures

Country: USA

Running time: 134 minutes


3½/5

Best part: Farmiga and Wilson.

Worst part: The familiar story structure.

The horror genre has gone through some strange and rocky times over the past several decades. The genre was once a cinematic paradise of trend-setters (Jaws,  The Exorcist) foreign treats (Suspiria) and franchises (A Nightmare on Elm Street, Friday the 13th etc.). Nowadays, thanks largely to Michael Bay’s Platinum Dunes juggernaut, horror has been swallowed up by reboots and remakes. Thankfully, the Conjuring franchise is here to show its fellow Hollywood counterparts how it’s done.

2013’s The Conjuring was the first movie to receive an R18+ rating based entirely on terror rather than nudity, violence, or explicit language. The original has your classic ghost/demon story – a family is terrorised, a young girl becomes possessed, crucifixes are bared, and the power of Christ compels the spirit back to hell. This time around…all of those elements occur. Set in 1977, this sequel follows a family stuck in lower-class Enfield, North London. Single mother Peggy (Frances O’Connor) Hodgson struggles to keep everything afloat. Making matters worse, The family – youngest daughter Janet (Madison Wolfe), in particular – are hampered by spirits wandering their dilapidated council house. Paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), made famous by their involvement in the Amityville massacre investigation, are assigned to the Hodgons’ concerning case.

Like many of 2016’s sequels, The Conjuring 2, despite closely resembling the original, falls just short of recapturing the magic. Director/co-writer James Wan, coming back to horror after Furious 7 and before Aquaman, delivers his trademark style of graphic supernatural-thriller filmmaking. The Australian-Malaysian director’s vision is fascinating – introduced with the original Saw flick, built upon with projects like Death Sentence and the Insidious franchise, and perfected with the original Conjuring. Here, however, his direction far outshines the screenplay. Developed by Wan, Chad and Carey Hayes, and David Leslie Johnson), the script stretches standard horror-thriller/ghost story/exorcism conventions over a tiresome 134-minute run-time. This installment is a tad predictable; carrying tropes including an overpopulated family, a rundown house, and questions about faith over from the original.

Wan continually establishes himself as a hyperkinetic and intensifying filmmaker. Free from studio constraints, he lathers every frame with his unique and uncompromising vision. Wan is the jumpscare master – toying with our expectations whilst building to moments of unrequited dread. Joseph Bishara’s relentless score flutters in and out at opportune moments. The composer’s screeches and strums ratchet up the tension throughout its many set pieces. Don Burgess’ impressive camerawork floats through hallways and in between rooms with textbook precision. Wan’s eye for period detail, costume and set design balances between bold and subdued. Adding to the movie’s flair, Farmiga and Wilson blend into the narrative and make for a believable married couple.

Featuring demon nuns, possessed children and Elvis Presley sing-a-longs, The Conjuring 2 is equal parts fun and frightening. Wan’s unique and kinetic direction overshadows the familiar screenplay. His latest blood-curdling jaunt is a contender for 2016’s best horror flick and most successful sequel.

Verdict: A chilling horror-sequel.

Magic in the Moonlight Review – A Cruel Trick


Director: Woody Allen

Writer: Woody Allen

Stars: Colin Firth, Emma Stone, Hamish Linklater, Marcia Gay Harden

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Release date: September 19th, 2014

Distributor: Sony Pictures Classics

Country: USA

Running time: 97 minutes


 

2/5

Best part: The charming performances.

Worst part: The heavy-handed subtext.

Certainly, veteran actor/writer/director Woody Allen has lived an awe-inspiring, unpredictable, and thought-provoking life. The 78-year-old Tinseltown icon has spent several decades breaking the mould. With game-changing successes in multiple disciplines, his aura, for the better part of a century, has shone brighter than Hollywood Boulevard and Times Square combined. This starry-eyed filmmaker has delivered some of cinema history’s greatest moments. In front of and behind the camera, the tick-laden auteur has given industry hopefuls and impressionists plenty to smile about.

Colin Firth and Emma Stone's peculiar coupling.

Colin Firth and Emma Stone’s peculiar coupling.

Allen, despite being cinema’s most prolific hit-and-miss filmmaker, shouldn’t be insulted for his work. However, despite his merits, his latest effort, Magic in the Moonlight, won’t convert any average film-goers into raging fans. This jaunty romantic comedy, if anything, proves that Allen should take more vacations. Possibly, he should go to some of the many picturesque locations he’s captured over his illustrious career. For now, he’s stuck making witless and confused rom-coms. In typical Allen fashion, the allure of classier times fuels the otherwise bland and uninspired narrative. The story, inexplicably wafer-thin, relies on several key players to push it into overdrive. We start off in 1920s Berlin, with a world-famous illusionist performing his signature act for a packed house. Wei Ling Soo, playing to wealthy audiences, earns his fortune by making elephants disappear from boxes and slicing gorgeous stage hands in half. However, the real illusion is revealed once Soo is back-stage. Revealed to be a snide British man, Stanley (Colin Firth), Soo regularly berates production crew members, journalists, and fans. Debunking fraudulent magicians and mediums in his spare time, Stanley’s narrow-minded worldview attracts business but deters everything else. Given a new assignment by long-time friend Howard Burkan (Simon McBurney), Stanley heads to the Cote d’Azur  to mingle with the ultra-wealthy Catledge family  – Grace (Jacki Weaver), Brice (Hamish Linklater), Caroline (Erica Leershen), and her husband George (Jeremy Shamos) – and uncover houseguest/clairvoyant Sophie(Emma Stone) and her mother(Marcia Gey Harden)’s misgivings.

The sublime sights of a Woody Allen picture.

The sublime sights of a Woody Allen picture.

Crafting a star-studded feature every one-or-two years, Allen’s work-horse routine is now cracking under pressure. Sporting a career marred by controversy, the notorious filmmaker should be trying harder to win us over. Sadly, this lifeless and misguided rom-com is a significant step backwards. Sitting well-below recent efforts including Blue Jasmine and Match Point, Magic in the Moonlight calls Allen’s attentiveness, relevance, and tolerance levels into question. Unlike previous efforts, this movie lacks anything resembling subtlety, gravitas, originality, or charm. His signature storytelling tropes, bolstered by real-life events, overcook the movie’s tiresome screenplay. Throughout its brief run-time, as Stanley becomes bewitched by Sophie’s charms, the cliche-meter ticks over. Crafting a whimsical mystery/love story, this nostalgic rom-com shifts awkwardly between each conversation, montage, and revelation. Pulling Stanley and Sophie together with witless conversations and wide-eyed stares, Allen’s latest delivers several discomforting and interminable scenarios. In addition, the narrative makes the unwarranted leap from meet-cute-driven comedy to sweeping romance. One scene, in which Stanley and Sophie’s car breaks down in front of an observatory, almost sinks this light-hearted romp. Throwing in plot-threads, characters, and twists sporadically, Allen’s 96-minute magic trick lands with a whimper instead of a bang.

“When the heart rules the head, disaster follows.” (Stanley (Colin Firth), Magic in the Moonlight).

Hamish Linklater and Jacki Weaver now part of Woody Allen's collective.

Hamish Linklater and Jacki Weaver now part of Woody Allen’s collective.

Obsessed with slight-of-hand story-telling ticks, Allen’s hubris hurriedly takes over here. Sugar-coating each plot-strand and character arc, Magic in the Moonlight discards intriguing concepts in favour of stylistic flourishes and heavy-handed dialogue. Beyond the inflated narrative, the movie never says anything relevant or thought-provoking. Pitting Stanley’s nihilism against Sophie’s air-tight optimism, the movie continually dives into a suffocating science vs. religion debate. Relying on mismatched leads and one-note support, the characters exists simply to echo Allen’s viewpoints. Meddling with infidelity and age differences in relationships yet again, Allen’s personal touch amp-ups the creep factor. However, known to show off the world’s most picturesque locations, Allen’s direction bolsters this archaic and forgettable effort. Aided by Darius Khondji’s pristine cinematography, the movie’s infatuation with France is almost worth the admission cost. Drowning us in his high-society existence, his version of the Mediterranean sports the world’s most appealing vineyards, Great Gatsby-style parties, mansions, and scenic vistas. Allen should also be credited for pulling this remarkable cast together. Bolstering his exhaustive dialogue, certain scenes bow down to these immaculate thespians. Firth, despite his irritating character, admirably sells each line. Thanks to his pithy delivery and effortless charisma, the British icon elevates several sequences. Stone, however, is the movie’s best asset. Her show-stopping looks and raw energy make for an invigorating love interest. Eileen Atkins almost steals the show as Stanley’s wise and advantageous aunt, Vanessa.

Whenever Allen invites a journalist into his home, he always shows off the most important part of the property. He opens a drawer, then pulls out a stack of screenplay ideas from which his features originate. This method, despite the infatuation with cinema, now seems like an act of desperation. Surely, Magic in the Moonlight won’t age well. Thanks to a ridiculous screenplay, wafer-thin characters, and overbearing subtext, this fluffy rom-com highlights the veteran filmmaker’s flaws. Wearing his style thin, the movie makes for a significant misstep within a momentous career.

Verdict: The master filmmaker’s latest fumble.