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#The curse of la llorona review windows#
The windows rolling down, that was all in camera. It is really the imagination of the menace outside and what could potentially descend on them. I think that they bring so much charm and life to it. And the two kids, I think, are just great in this film. And Sam is played by Jaynee-Lynn Kinchen. I think that there is always an element of magic to it, where you build an expectation that it’s going to come from one direction and then you turn it on its head and bring it from another. With that jump scare, you know, I think that what works with a good jump scare is a little bit of sleight of hand. And I thought that that just was a really fun way to build the tension in the scene. And even as she approaches him, what she’s saying is very warm and nurturing, and it has this motherly quality to it. And then, with that head turn I wanted to give it a little twist into a moment of menace. And I thought that was really interesting in just, you know, disarming the audience. Intentionally, it was designed to be disarming and have this kind of element of sadness to it. She is a mother who murdered her children and is basically cursed to walk the Earth for all eternity. And her story and the legend is very tragic. So it’s one of the first ways that we introduce her to these different characters. And you know, the cry is one of the most signature cues of La Llorona. And from behind him, he hears a woman crying. And while he’s there, he’s seeing this tragic scene. And he’s walked over to this crime scene. In this scene, we have Chris, who’s played by Roman Christou. This is Michael Chaves, director of “The Curse of La Llorona.” All right.
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Cardellini does have her moments, particularly in how she might be the first actor ever to deliver a believable onscreen scream, but after she leaves the kids alone one too many times, we start to wonder if she even really wants to help them and we start to wonder if we even care.Transcript ‘The Curse of La Llorona’ | Anatomy of a Scene Michael Chaves narrates a sequence from the thriller. There are certainly other Hispanic cast members, but they're relegated to plot devices with shitty motives and deus ex machina which, frankly, is tiresome and problematic. In the beginning, glimpses of the ghost are pretty scary, but once we've seen her a few times and the law of diminishing returns kicks in, it really becomes a game of running down the clock.Īnd this would all be acceptable in that horror movies are often not so great, but La Llorona centers the story on white folks (not counting the kids, because don't forget that the dead dad was Hispanic-but even they take a backseat to the mom's frantic actions despite being the targets of attempted ghost murder). It's horror, y'know? You basically know the gist.
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She's La Llorona, dammit.Īnna sets about confronting the spirit with the help of a defrocked priest-slash-curandero (Raymond Cruz of Breaking Bad), but La Llorona is more powerful than they can imagine, so jump scares occur, close calls go down and the music swells suddenly while the ghost tries to drown everybody. But when those kids wind up in the social care system and subsequently disappear, Anna's own brood wind up stalked by the ghostly remains of a once-beautiful woman who, years ago, in a fit of jealous rage, drowned her children and now ghosts around drowning other kids so they can somehow take their place. Life is hard, raising kids alone is tough Anna gets the briefest expositional moments before it's off to take kids away from a poor Mexican mother because she locked them in a closet "to keep them safe." Really, we know she's hiding them from being Llorona'd.
#The curse of la llorona review movie#
And these people are right, because it's a pretty terrible movie if we're being generous, and a lousy example of appropriation if we're being honest.įreaks & Geeks alum Linda Cardellini is Anna, a social worker-slash-mom whose cop husband, a Hispanic man we're told, died before the events of the film. For those who come from places familiar with the folklore, The Curse of La Llorona, the newest entry from the Annabelle microcosm of films-such as The Nun and The Conjuring-have probably felt irritated by the thought of a Hollywood take on the age-old tale.