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where social worker Anna Tate-Garcia (Linda Cardellini) saves two children from death at the hands of their mother, Patricia (Patricia Velasquez)… or does she? There’s something more diabolical than particulates hovering in the haze of L.A. It takes a while, but Chaves finds his own visual groove, a texture that feels more Zodiacal than maniacal in its supernatural omniscience. And of all the offshoot filmmakers besides the franchise’s main man James Wan, La Llorona’s director, Michael Chaves, is a promising choice to take over the flagship with The Conjuring 3 next year.Īfter La Llorona’s expository prologue in 1673 Mexico, the film jumps forward 300 years to Los Angeles where Chaves mirrors hyperspeed moves that have become Wan’s trademark. Rarely terrifying or terribly well made, the Conjuring films nevertheless make bank on modest investments La Llorona mustered $125 million worldwide on a $9 million budget. Specifically tweaked scares are always scarier than genericized, if craftily composed, folkloric frightshows like The Curse of La Llorona - the latest, and most distantly related, installment in the Conjuring cinematic universe which is now on Blu-ray and VOD.
THE CURSE OF LA LLORONA BUDGET HOW TO
Like many cultural bogeymen (or bogeywomen), La Llorona’s spooky story is best told in the dark by loved ones acutely aware of how to get under your skin - to get you to behave … or be whisked away. So goes Latin American lore of La Llorona, the Weeping Woman who plunged her kids’ heads underwater in a pique of rage - killing them, driving herself mad and condemning her spirit to a cursed afterlife of collecting children’s souls. Be good or she will find you … and keep you.