People are constantly lighting candles and turning on flashlights, but they do nothing whatsoever. It’s said that the ghost can thrive in darkness, but on more than occasion the ghost is seen attacking in broad daylight. La Llorona can teleport pretty much anywhere (as ghosts can), but she has a hard time opening doors, and not just the type that have been mystically blessed to keep spirits out. Although the ghost loves to drown her prey in any amount of water, she’s just as powerful when nobody is near anything wet. Even how its titular apparition functions hasn’t been thought through. There’s a gruff faith healer and former priest (Raymond Cruz) brought in to help in the third act, and even he’s the type who will watch Anna and her family get battered and bounced around like ping pong balls for literally minutes with his jaw hanging down before finally deciding to step to provide spiritual assistance.Įverything except for the “long periods of silence before a jump scare” aesthetic is inconsistent and nonsensical in The Curse of La Llorona. People are constantly doing things they’re expressly told not to do, not because there’s a supernatural power getting inside their heads guiding them, but because they’re just idiots. The kids are constantly engaging in activities – like taking long baths alone – that they know will put them in danger, but they do it anyway. Anna has seen the ghost for herself after her kids have already witnessed it trying to kill them, and somehow they don’t talk about this spooky miracle for over a day. The entire film could’ve been prevented if Anna didn’t have the bright idea to bring her children to a grisly crime scene in the middle of the night. The choices made by the characters in The Curse of La Llorona are bizarre, and while the set-up of their personalities and quirks doesn’t take long, the steps taken towards putting their own lives in danger are so out of place that one wonders if the cast were only shown the first twenty pages of material.
#The curse of la llorona reviews movie
Instead audiences will be treated to my least favourite type of horror movie one where previously intelligent kids and adults suddenly turn into barely functional imbeciles because the movie would end if the characters weren’t complete idiots. There’s a much better film about myths, legends, and parental and childhood fears that’s begging to be explored, but none of it is in this final script. It didn’t have to be so rudimentary when one considers that the bones of The Curse of La Llorona are rather strong and intriguing. Working from a script from Mikki Daughtry and Tobias Iaconis (the duo behind the recent teen romance Five Feet Apart ) that reads like it was written over a lunch break, first time feature director Michael Chaves can only offer up a lot of style over substance. That’s about all there is to The Curse of La Llorona, and to say anything more wouldn’t be to spoil anything, but it would likely bore one to tears. Anna, a widow who has two children of her own (Roman Christou and Jaynee-Lynne Kinchen), soon finds her own family stalked by La Llorona. Not believing the woman, Anna takes the kids out of their home, places them in foster care, and they turn up dead the next day. Fast forward three-hundred years to 1973, and Los Angeles based Child Protective Services officer Anna Tate-Garcia (Linda Cardellini) is working a case where a seemingly negligent and crazy mother (Patricia Velasquez) has been keeping her two kids locked in a closet to keep La Llorona from getting them. Distraught by her own actions, La Llorona – the weeping woman, played by Marisol Ramirez – haunts families looking for new children to kill and call her own. The Curse of La Llorona takes inspiration from Mexican folklore, specifically a superstition surrounding a woman who murdered her own kids by drowning them back in 1673. It’s 93 minutes of squandered potential and cliches. It’s not the worst looking or shoddiest made horror movie to come down the pike in recent memory, but it’s assuredly near the top of the list if one were ranking them based on overall boredom and tedium. As dumb and predictable as modern horror tends to get these days, The Curse of La Llorona – the latest entry into The Conjuring extended universe – is a plot that needs about thirty seconds of explanation padded out with a bunch of jump scares strung together.
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