How exciting! This is my first ever review for a film I saw at a festival! I wish it were a better film, but hey I won’t complain too much. This supernatural horror thriller had its world premiere at the 2019 South By Southwest Film Festival. It is currently scheduled to be widely released in theaters on April 19th, 2019, by Warner Bros. and New Line Cinema. Made for the budget $35 million, given the studio’s track record the last couple years, it should have little problem earning it all back by the end of its theatrical run. But whether its middling critical reception can improve with general audiences remains to be seen. Produced by James Wan and Gary Dauberman, this movie marks the feature-length debut of director Michael Chaves, who previously helmed a number of short films. The screenplay was written by partners Tobias Iaconis and Mikki Daughtry under the original title The Children. Wan and CO. were apparently so impressed by Chaves’ work on the film that they immediately hired him to take over the next Conjuring film, which is supposedly slated to begin production later this year. Set in Los Angeles in 1973, Linda Cardellini stars as Anna Tate-Garcia, a social worker and widow. She’s called to check in on the status of a single mother Patricia Alvarez, played by Patricia Velásquez, who claims to be protecting her two boys from La Llorona, a ghost in Latin American folklore. Also known as the Weeping Woman, the story goes that a young Mexican woman drowned her children in a river after discovering her husband’s infidelity and then drowned herself out of extreme guilt, cursed to wade through the waters for eternity. Now, Anna becomes convinced that La Llorona is coming after her family next and enlists the help of a disillusioned priest, played by Raymond Cruz, to stop the evil spirit. Let’s get this out of the way before going any further: The Curse of La Llorona is the newest film in The Conjuring Universe. While such rumors had persisted for a while, it was always marketed as its own standalone horror flick. I don’t really consider this to be a spoiler because the connection to the other films is extremely lowkey, but take it as you will. To be perfectly honest, I don’t really have that much familiarity with this franchise, other than hearing a lot of praise from horror fans. I enjoyed what Wan did with the first Saw movie, and I like how he’s giving opportunities to newer filmmakers in the genre like Chaves or David F. Sandberg. Being my first experience at a film festival, there was a unique sort of anticipation I had for this film. And while The Curse of La Llorona has its share of fun moments, it just can’t quite rise high enough to separate itself from the crowded deluge of ghost movies. I have no doubt that Michael Chaves has a great career in the genre ahead of him, and he certainly shows some great skill behind the camera. But the issue is that the script he’s working with is so rote that it often feels like he’s fighting off what begs to be a jump-scare fest and dumb character decisions. At the very least, it could have honestly used an overhaul by another writer to make it a lot better. Furthermore, similar to The Cloverfield Paradox last year, I don’t feel like this had to be connected to The Conjuring at all. It’s a very fleeting moment shown in the latter half that doesn’t bear any actual relevance to the plot itself. I understand the desire for brand recognition to increase box office potential, but this could have easily written that crossover out entirely and no one would be the wiser. Linda Cardellini’s built a pretty sweet resume over the last few years with roles in films like Green Book and the underrated A Simple Favor. For her first stab at the horror genre, she does a pretty great job as Anna and exudes a certain vulnerability and strength in a frightened mother. Jaynee-Lynne Kinchen and Roman Christou play both of Anna’s children, Samantha and Chris, respectively. While horror films are often prone to terrible child actors, these two showed a decent range with what they were given. Patricia Velásquez is also pretty good as the petrified mother in Anna’s case while Breaking Bad‘s Raymond Cruz delivers some goods as a man of faith who may be the family’s best hope of survival. While they both did well with the material, their limited screen-time and development makes it hard to become invested in them. Cruz particularly feels underutilized and only really becomes important in the second half, and at that point he feels more like an archetype than an actual character. As continues to be tradition with New Line’s horror films, The Curse of La Llorona has some pretty polished and inspired moments from behind the camera. Wan’s regular cinematographer Don Burgess captures much of the action in darkness, often switching between tight Steadicam and handheld scenes. After a somewhat uneven prologue, the opening scene sees a single shot follow Anna and her children rushing around the house to get ready for school, setting the atmosphere. There are also a number of admittedly impressive bits where a shot seems like it’s following the titular ghost in one area, only for her to come back in the same shot. But the editing by Peter Gvozdas is pretty inconsistent and at times frustrating. While not necessarily choppy, it does feel in favor of creating jump scares with different shots following another. It can be clever sometimes in how it shows imagery, such as highlighting table cloths to imply that La Llorona is there. But the film is already wrestling with a meager script and editing it in such a ham-fisted way felt detrimental. Despite what the tone this review may make you think, I had a decent time with it. This is certainly a leap ahead of other horror movies like Wish Upon and The Bye Bye Man, but it still feels weighed down because of its obligation to the Conjuring Universe. Definitely a better viewing experience with a huge crowd, The Curse of La Llorona is a fleetingly scary flick that muddles a truly terrifying legend in favor of franchise connections. If for nothing else, this film shows that Michael Chaves clearly has a lot of talent and should enjoy a healthy career in Hollywood. His and Wan’s hearts are in the right place, but it just doesn’t make enough effort to distinguish itself from the genre. You’re most likely going to leave the theater having a fun time with all of the other patrons, but won’t remember much of it come the next day. But hey, it was super fun to watch at South By Southwest, so it’s great for that memory.