THE CURSE OF LA LLORONA (2019)
Supernatural horror takes place in 1973 with widowed social worker Anna Tate-Garcia (Linda Cardellini) looking into the death of two children, from one of her cases. Their mother (Patricia Velásquez) claims it was La Llorona, The Weeping Woman, who murdered her children and they are dead because of Anna’s interference. Anna discovers that La Llorona is from Mexican folklore, a woman in the 1600s who got revenge on a cheating husband by murdering her own children and then killing herself. Distraught with guilt, her spirit is now said to seek out other children to kill to take the place of her own. Whether the folktale is true or not, a dark force is now stalking Anna and her own kids (Roman Christou and Jaynee-Lynne Kinchen). Is the spirit of La Llorona real and out to get Anna’s offspring?
Generic horror flick is directed by Michael Chaves from a routine script by Mikki Daughtry and Tobias Iaconis. Mexican folklore base could have been interesting had there been a more involving movie built around it, or a better use of that folklore. Flick centers on the usual, vengeful, sinister specter surrounded by dark cinematography, flickering lights and an abundance of jump scares. The lead character, Anna, is the cliché skeptic who is forced to go to someone of faith and supernatural belief (Raymond Cruz) for help. There is even an exorcism of sorts in the last act. Chaves tries to build atmosphere and Cardellini gives it her all, as the frightened Anna, but this is just too familiar to really evoke solid scares. It follows the recent template for mainstream supernatural horror to the letter and does nothing innovative or intriguing with it. While it also lacks the over-the-top fun of last years The Nun, this was still another box office hit for producer James Wan and his Conjuring universe, which this film is thinly linked to by the appearance of Annabelle‘s Father Perez (Tony Amendola).