James Wan’s “The Conjuring” is almost about as good as it gets as far as American horror films go these days. Wan is arguably the godfather of the post-aught American horror film. His groundbreaking and undeniably influential “Saw” (2004) made him an overnight star and proved to the international film making scene that we had a new auteur on our hands. Not only that but to top it off (get this) he was only 27 at the time of filming. Being in that “Saw” was so successful and Wan set the bar so high, both artistically and commercially, it was only somewhat inevitable that his next film couldn’t possibly hold up. And they didn’t. He released 2 films back-to-back in 2007 – “Dead Silence” and “Death Sentence”. Both which failed miserably at the box office and with audiences. Enter 2010 after a few years away from the film making spectrum and Wan releases his 2nd most successful movie to date – the downright creepy and chilling “Insidious”. Marking a return to form and putting him once again in the hot seat as America’s most artistically commercial horror director. Then another 3 years later and Wan gives us what might be the 2nd best horror film post-2010. What I and some other people I know consider to be his masterpiece.
There are so many elements to talk about in regards to “The Conjuring” that its hard to break it down to just a few. But I will try my best. First things first, it is impeccably shot. And I rarely use that adjective to describe a piece of film making (I picked it up from Steven Spielberg in an interview when he once described the look of the films of the late, great Stanley Kubrick). Wan is in complete control here and it comes through in just about every frame and shot. It’s one of the most confident and assured pieces of film making from a directing standpoint in American horror since the great films of the 1970’s like William Friendkin’s “The Exorcist” (1973) or Tobe Hoopers’s “The Texas Chainsaw Massacre” (1974). The way in which he zooms in and out and sweeps through the corridors of the inhabited home is purely the work of a master. Secondly, in what I refer to as Wan’s “bag of tricks”. He utilizes just about every horror technique we’ve seen in the history of the genre. His arsenal bag of tricks contains everything from a grandfather clock, creaking doors and stairwells, white noise, evil spirits, old tape recordings, saturated lit archival footage, a game of “clap and seek” (remind me never to play that), haunted cellars, the scariest doll since “Chucky”, and what I find to be the most terrifying piece – a wind up corkscrew jack-in-the-box (used beautifully in the film’s closing shot). Last, and certainly not the least, is the all out, balls to the wall, horror show freak out that is the third act. It features some of the most haunting images that will forever be etched into my brain. To say he really brings it as the film comes to a close would be a huge understatement. The last half hour to 45 minutes contains some of the most pure, unadulterated horror that I’ve seen put onto celluloid since Brad Anderson’s brilliant and overlooked “Session 9” (2001). My one very minor criticism of the piece is that it follows the whole exorcism movie trope formula just a tad bit too closely. But again, a very minor criticism. Outside of that this is about as good as modern day horror gets. And solidifies my statement that James Wan is the Christopher Nolan of the horror genre.