The Conjuring, the franchise, was born in the summer of 2013 with the James Wan film of the same name. This is the sixth of eight films under the broader Conjuring franchise umbrella, the fourth spin-off, the third adjacent sub-franchise, and the first to be wholly devoid of a purpose as such a wholly vapid exercise in studio-authored filmmaking as content creation. The Curse of La Llorona marks something essential in understanding Warner Brothers’ Conjuring franchise, and indeed the larger landscape of studio franchise and shared universe filmmaking – the moment when it stops caring or mattering. That familiar face is Tony Amendola’s Father Perez, a key figure in 2014’s Annabelle – but for what reason? The story of a single mother and social worker whose world is torn apart when a sinister presence begins to torment her children, the film seems nothing short of standard horror fare rife with polished genre conventions and lots of grating sound design – until a familiar face appears. Save for a single scene nearly an hour in, 2019’s The Curse of La Llorona bears no real connection to the franchise it purports to expand.
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