Director – Michael Chaves
Starring – Linda Cardellini, Jaynee-Lynne Kinchen, Roman Christou and Raymond Cruz
Runtime – 94 minutes
Release date – 3rd May 2019
Plot – Ignoring the eerie warning of a troubled mother suspected of child endangerment, a social worker and her own small kids are soon drawn into a frightening supernatural realm.

REVIEW:
I was in two minds about whether I should review The Curse of La Llorona as part of my Conjuring Universe series, considering the ongoing confusion about whether this movie even takes place in that same universe. Director Michael Chaves himself stated that the film “was never meant to be included in the shared universe.” Unlike the other spin-offs that proudly declare themselves as “the next chapter in the Conjuring universe,” this movie merely mentions it’s “from the producers of” the franchise. However, Tony Amendola reprises his role as Father Perez from the first Annabelle film, and his brief scene even refers to that film’s events. Plus, the movie opens with the same dark and gloomy aesthetic that has become a trademark of the Conjuring series. So, as far as I’m concerned, The Curse of La Llorona is canon, though this mix of intention and connection raises questions about the film’s identity.
The decision to throw in a tie to the Conjuring universe feels more like a marketing ploy than a narrative choice. If the movie wasn’t initially intended to be part of the franchise, then why shoehorn in a reference at all? It feels like a trick to get audiences into cinemas based on the success of The Conjuring series, which bothers me. If a movie cannot stand on its own two legs without being linked to a popular IP, it signals a lack of confidence in its own content. The unnecessary connection distracts from what could have been a solid standalone horror film and instead makes the movie feel like it’s riding the coattails of more successful films in the franchise.
The film does, however, tackle some heavy subject matter. Themes of child abuse and the grief of losing a loved one are explored in moments of emotional depth. There’s a particularly creepy scene early on when Tomas and Carlos are walking through the child-services shelter, and the lights start flickering—this had me on edge. The movie initially succeeds in building tension, with clever shots using shadows, reflections, and unsettling camera angles. A long, beautifully crafted tracking shot around a house, as well as the suspenseful moment when Samantha opens her umbrella, shows that The Curse of La Llorona has the potential to deliver on its scares.
Unfortunately, the movie quickly loses its footing in the second half. When the main characters ask Rafael (played by Raymond Cruz) for help, things start to fall apart. Cruz’s performance feels wooden, and the attempt to inject humour into the script is completely out of place, with jokes that fail to land. The third act feels rushed and uninspired, making what was initially a promising horror film turn into a lacklustre finale. It’s almost as if the movie was made by two different directors—the first half carefully builds suspense, but the second half feels like a hurried, thoughtless mess.
One of the biggest missed opportunities is in the setting. The movie is based on the famous Mexican folktale of La Llorona, or “The Crying Woman,” yet it’s not set in Mexico. Instead, it’s shot in Los Angeles. A Mexican setting could have made for a unique horror film steeped in rich culture and atmosphere, but instead, the film takes the safer, cheaper route of filming in LA. It’s a baffling decision that squanders the chance to truly immerse the audience in the story’s cultural origins.
There are also moments in the film that border on the ridiculous. For instance, there’s a scene where they manage to block La Llorona from entering the front door of the house but somehow completely forget about the back door. This feels like such a glaring plot hole that I can’t believe it made it into the final cut. And the way they ultimately defeat La Llorona feels contrived and nonsensical, unless there’s some folklore detail I missed. Overall, the film starts strong but falls apart in the end, leaving me feeling more frustrated than scared.
As always a informative review.