The Conjuring pulls its inspiration from a case file of famed demonologists and paranormal investigators the Warrens, the husband and wife team who's other journeys inspired films such as The Amityville Horror. For The Conjuring it seems Wan has taken everything he's learned – congealing everything he's found to be effective – and assembled them exquisitely and with ample new flare to boot. After breaking onto the scene in a big way with the trend setting Saw, the director took a bit of creative detour in the eyes of most with revenge thriller Death Sentence and supernatural doll flick Dead Silence (which is vastly underrated by the way) before rebounding with the aforementioned Insidious. With these films the genre has proved that this is far from a dead, now inherently clichéd area of cinema and this effort is perhaps the best of all three. The Conjuring completes a modern supernatural horror film trifecta started with Wan's own Insidious in 2010 and bridged by last year's unsettling Sinister.
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This is the type of brave, but stripped down horror filmmaking that forces you to analyze other elements besides just the full effectiveness of its frightening intent. Then we have something like James Wan's The Conjuring, an artful, confident throwback that succeeds in maintaining a high tensile level of pressure on our senses, crafting vital jump scares, a potent human element and all encompassing technical prowess. If something isn't scary to someone – someone who earnestly believes that of course – then a fright flick has failed at its core intent.
Like comedy, the horror genre can be a very subjective beast, finding or missing its mark as much do to its craft and execution as it does the particular individual who plops themselves into a theater seat.