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Old 10-28-2013, 04:36 AM   #46
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I think this one is Wan's best (I'd have to re-watch the original SAW to be sure, but I'm pretty sure). Far better than Insidious. Vera Farmiga is highly underrated and is the best part of this movie.
Agreed with all these points.
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Well as the video explains, I do not think it is a great film, nor do I think.
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Old 10-28-2013, 10:20 AM   #47
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i went to see this with a friend in the theatre a couple of weeks ago and... i wasn't scared or creeped out a single time, admittedly there was 1 'boo' moment that got me but that was it

it's not that it's badly made or it's intentions are wrong, but it somehow felt... predictable and manifactured in a factory, it felt like a lighter version of Insidious (first half)
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Old 10-28-2013, 03:03 PM   #48
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Checked this out for the second time tonight and my opinion on it remains the same. It's just OK. Nothing about it really elevates it above its safe and derivative story line. A bunch of predictable jump scares, forgettable characters and a ho hum story. Insidious just felt way much more fresh and fun to me.

I think i'm starting to see a pattern with me and modern horror. The more the Main stream seems to like it, the less I seem to.
I watched this one again yesterday too. I agree with you across the board.

Wan really needs to figure out how to end a film. The Ghost Busters section of Insidious is ridiculous. But at least it was intentional. Those characters are clearly there for comic relief. Wan obviously realized that he went too far in that direction. So for The Conjuring we get a similar cop character--but in a much smaller dose. That should have represented growth.

But the ending of The Conjuring is even more preposterous. It's not remotely scary, just noisy and busy--more accurately NOISY AND BUSY. Having the husband and some other family members witness the climactic events could have generated a lot of pathos and sympathy for their situation. It would be fairly heart-breaking to witness a family member tormented in that manner. But I was too busy guffawing at the CGI bird swarm and the PCP-fueled haunted house to feel the real horror of their predicament.

There are no new tricks in this sub-genre. It's all been done before. But recent flicks like The Innkeepers proved that you can at least make something that FEELS unique if you steer clear of some of the more ridiculous ghost story trappings and leave some things to the imagination. The Conjuring's everything but the kitchen sink (actually the kitchen sink might have been flying around too) approach recalls so many other better movies that it makes the whole thing feel uninspired and recycled. It's a shame because the first half shows Wan has potential.
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Old 10-28-2013, 03:07 PM   #49
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I'll never understand why horror fans will bash a horror film for having jump scares.
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Old 10-28-2013, 03:11 PM   #50
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I'll never understand why horror fans will bash a horror film for having jump scares.
I don't think it's for having them so much as relying on them. I don't think Conjuring did that though.

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There are no new tricks in this sub-genre. It's all been done before. But recent flicks like The Innkeepers proved that you can at least make something that FEELS unique if you steer clear of some of the more ridiculous ghost story trappings
Innkeepers had plenty.

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Old 10-28-2013, 03:22 PM   #51
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I don't think it's for having them so much as relying on them. I don't think Conjuring did that though.



Innkeepers had plenty.
For me it's about how the jump scares are employed--and how predictable or effective they are. I think Wan did a better job with them in Insidious.

Are you suggesting that The Conjuring takes a less derivative approach than The Innkeepers? We'll have to agree to disagree on that one.
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Old 10-28-2013, 03:49 PM   #52
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Are you suggesting that The Conjuring takes a less derivative approach than The Innkeepers? We'll have to agree to disagree on that one.
No just that it didn't rely completely on jump scares. I prefer Innkeepers too, but there are moments in that one that I wish they held back on the slamming doors and whatnot.
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Old 10-28-2013, 04:13 PM   #53
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No just that it didn't rely completely on jump scares. I prefer Innkeepers too, but there are moments in that one that I wish they held back on the slamming doors and whatnot.
There were plenty of opportunities for more jump scares where I was sure they were coming, such as when the cop is looking out the window at the windchimes for an extended period of time. This is usually when the cat jumps into the scene unexpectedly. I'm sure this will illicit groans from some of you, but do they have to always kill the damn dog to prove how "evil" the antagonist is? Drives me nuts.
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Old 10-28-2013, 04:19 PM   #54
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No just that it didn't rely completely on jump scares. I prefer Innkeepers too, but there are moments in that one that I wish they held back on the slamming doors and whatnot.
Gotcha. At least West showed a relative amount of restraint. And he seems to include those elements more out of a sense of obligation. He devotes most of his attention to his characters. I wouldn't say the same about Wan.

It's funny you mention the dog Buck. As desensitized as I am to seeing people killed in the most gruesome manner possible I hate to see a dog die. If that's a commentary on me as a person I can live with myself. Ha.
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Old 10-28-2013, 04:40 PM   #55
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Gotcha. At least West showed a relative amount of restraint. And he seems to include those elements more out of a sense of obligation. He devotes most of his attention to his characters. I wouldn't say the same about Wan.

It's funny you mention the dog Buck. As desensitized as I am to seeing people killed in the most gruesome manner possible I hate to see a dog die. If that's a commentary on me as a person I can live with myself. Ha.
+1 on the dog.
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Old 10-28-2013, 04:51 PM   #56
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Glad to know I'm not alone on that. Thanks guys.
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Old 10-28-2013, 04:55 PM   #57
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It's funny you mention the dog Buck. As desensitized as I am to seeing people killed in the most gruesome manner possible I hate to see a dog die. If that's a commentary on me as a person I can live with myself. Ha.
Couldn't agree more. Anytime my wife and I are watching a movie and they introduce a family pet our first response is "great...I wonder what horrible thing is going to happen to him".
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Old 10-28-2013, 05:11 PM   #58
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Yeah admittedly I think killing animals to illicit a degree of wickedness is a cheap route. I feel the same about depictions of rape as well. But Conjuring is based on truth, so if the family dog really was killed, I wouldn't want them to censor that in order to take a higher road.
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Old 10-28-2013, 05:46 PM   #59
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I prefer Insidious although The Conjuring showed maturity on Wan's part as far as story telling and character development. Insidious is a bit uneven with the silly, bubbling Ren & Stimpy ghost hunters (It feels like they belong in a different movie), but I really enjoyed the colorful world Wan created with this one.

As for the comparison to Innkeepers, I think Ti West and James Wan have more in common than one would assume. For my money both directors have had their visual styles on lock since day one (Saw and The Roost are inferior in a certain sense but I think that it came down to the small budgets that prevented them from showing their full potentials.), but when it comes to crafting a pitch perfect story both have some work ahead of them.
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Old 10-28-2013, 07:22 PM   #60
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While I certainly get the comparisons between West and Wan, and think that West is the better of the two, I don't want to see Wan trying to emulate or take guidance from West. I like the direction that Wan is heading and while I won't hold any of his films up as a definitive masterpiece, I do still think he is a decent and unique filmmaker and I'd much rather see him hone his own voice a bit more. And, for me, Conjuring shows that he's heading in that direction. As I mentioned earlier, I didn't find Conjuring to be that scary, but I did think is was extremely well made.

In many ways, when comparing the two, I've reminded of the relationship between Bava and Argento, or to some degree Argento and Fulci. With the former, in both cases, creating works that are more subtle and reliant on rather sophisticated cinematic technique, where the later works comparatively more towards mechanics and a rich, usually suffocating, atmosphere.
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