“This is my house.”
Reprising their roles as famed demonologist Ed and Lorraine Warren, Patrick Wilson and Vera Farmiga bring a healthy dose of strong acting to James Wan’s hauntingly delicious The Conjuring 2. Going against the grain of recent sequels, the films proves that with a little time, energy and creativity, second helpings don’t have to be mere half assed cash grabs.
Set in 1977 England, the film centers around the Hodgson family, a single mother of four who claim to be haunted by a poltergeist that has taken residence in her youngest daughter Janet. Unsure as to whether the church should become involved, the Warren’s are sent overseas to investigate the allegations for themselves and determine if the events are in fact a work of evil or merely the pranks of a pair of adolescents.
The film works thanks to the undeniable chemistry between Wilson and Farmiga, as well as the ingenious eye of Wan, who somehow crafts a terrifying story by keeping things simple and straightforward. His ability to utilize objects that we often associate as innocent and safe (kid’s toys) and turn them into a bold representation of fear and horror is impressive. One particular scene that involves a late night drink of water and a firetruck is painstakingly transparent in context; however, its overall effect is surprisingly eerie and sets the stage for a quick and devilish third act.
Wilson and Farmiga embody their roles perfectly, selling every reaction with absolute precision. But it is their kind, nurturing and personable interactions with the Hodgson family that gives the film its unique touch. Never ones to overreact, you feel for all those on screen, anxious for a resolution but somewhat drawn to the creepiness of the situation.
As the film progresses and the haunting events become more persistent and intensive, you find yourself enthralled with the backstory. A deadly premonitions that opens the film paves way to one of the final scenes, and though there is nothing overly clever with how things ultimately play out, it is their simplistic nature that gives the film an overall feeling of authenticity.
I will admit that I felt a bit cheated with how quickly a resolution was reached, but at the same time I respected Wan for not overcomplicating things. And when we catch a glimpse of the room of demented keepsakes (including Annabelle) that lies somewhere in the Warren’s home, you can’t help but applaud in respect for the final product, one that made you scream, jump and awkwardly laugh at the theatrics of the whole experience.
