It makes even less of an impact considering Perez only pops in long enough to push Anna along her path toward someone else who might help. This film works hard to remind you, flashing Annabelle on screen as if Perez’s explanation about a case involving an evil doll wasn’t a tip-off. Remember Father Perez ( Tony Amendola) from Annabelle? If you don’t, that’s ok. It also means a tenuous and not so necessary connection between the films. Raymond Cruz is also a highlight as the curandero that seeks to help the family his knowledge of La Llorona brings needed exposition that’s matched by his sense of humor.īut this is a Conjuring universe film through and through, which means there’s a familiarity to the scares and formula. Cardellini’s protective mama bear persona goes far in engendering audience sympathy. Anna is a widow, struggling to raise her kids after the loss of her husband. A lot of time is spent getting to know the Tate-Garcia family, too, to ensure we’re invested in their terrifying battle with the angry spirit. Saturated in blacks, neutrals, and shadows, La Llorona maintains an ominous atmosphere of mourning and chills. The weeping woman then sets her sights on Anna’s children their nightmare is only beginning.ĭirector Michael Chaves makes his feature debut with La Llorona, and effortlessly stakes a claim in his corner of this ever-expanding fright focused universe. Of course, Patricia was only trying to hide her kids from the clutches of La Llorona, who finds and kills the children anyway. Alvarez has locked her children in a closet, and their malnutrition means they’re whisked to the hospital while mom is arrested.
While it’s refreshing to see her finally make her appearance in a major release, it’s also hindered by the familiarity of the Conjuring universe to which she’s tethered.Īfter a brief opening sequence set in 1673 Mexico, that shows our titular villainess in the act of murdering her children, the narrative jumps ahead 300 years to Los Angeles, where social worker Anna Tate-Garcia ( Linda Cardellini) is called to the home of Patricia Alvarez ( Patricia Valesquez). La Llorona is so prominent in folklore that it’s surprising it’s taken this long to make it to the big screen. Hers is a nightmarish bedtime tale to keep children in line. La Llorona kidnaps wandering children that she finds and drowns them, and if you hear her cries then misfortune or death awaits. The ghost of a woman who once drowned her children and spends her afterlife stuck in purgatory, forever weeping for her lost sons. The Weeping Woman, or La Llorona, is a haunting figure in Latin American folklore that has terrified generations.
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