RAW REVIEW: THE CONJURING 2

I’m a big fan of James Wan. The likeable, enthusiastic, diminutive director always impresses, from his trendsetting Saw to the rebirth of the haunted house genre, Insidious and its sequel. I honestly believe that he’s well on his way to becoming this generation’s John Carpenter.

I also really enjoyed the first Conjuring movie, which meant this film had pretty big shoes to fill.

So would it enchant me?

Or would this outing spell disaster?

Read on...

The Conjuring 2 (2016)

Dir: James Wan

Starring: Patrick Wilson, Vera Farmigia, Frances O’Connor, Madison Wolfe, Lauren Esposito, Patrick McAuley, Benjamin Haigh, Franke Potente, Simon McBurney

SPEEDY SYNOPSIS: I’ll try not to spoil too much here but read on at your own risk.

James Wan returns to the story of real life ghost hunters Ed and Lorraine Warren (Patrick Wilson and Vera Farmigia) as they investigate ‘England’s Amityville’ — the infamous Enfield Poltergeist, a sinister supernatural presence that victimised a normal family, the Hodgsons  in 1977.

When a restless spirit makes its presence known to young Janet (Madison Wolfe); her siblings Margaret (Lauren Esposito), Johnny (Patrick McAuley) and Billy (Benjamin Haigh); and long-suffering mother Peggy (Frances O’Connor), they come to the attention of psychic researchers Maurice Grosse (an unrecognisable Simon McBurney) and sceptical Anita Gregory (Franke Potente).

Stateside the case is referred to the Catholic Church, which sends Ed and a battle-weary Lorraine to assess whether this is a genuine case.

But how safe are they all — especially as Lorraine is haunted by a terrible vision depicting Ed’s violent death…

THE BEST BITS (mild spoiler warning): Let's cut straight to the chase — I’m delighted to say that The Conjuring 2 is a more than worthy sequel to the great first outing. It may even surpass the original film and totally washes away the bad-taste left in the mouth by 2014’s derivative, soulless spin-off Annabelle.

The cast impress in their roles, especially the sparkling central duo of Farmigia and Wilson. They are a fantastic screen couple with real chemistry and both show impressive acting chops as they bring their real-life counterparts to life. Wilson really is a fine leading man and once again his strong relationship with Wan yields dividends.

Fans of TV’s Bates Motel already know that Farmigia is an exceptional actress and she brings an impressive blend of warmth, vulnerability and steely toughness to her portrayal of Lorraine. It’s in their scenes together that they really shine, with a strong and believable rapport. Here’s hoping to more films of the Warren’s cases — perhaps more of the case covered at the start of the film, a case GUARANTEED to bring the horror crowds flocking.

However, these stars do take something of a back seat for the first act, so it’s a good thing that the actors playing the Hodgson family are so good. Sure, as somebody who lives a mere 25 minutes from the real Green Street, I did notice a couple of wobbly accents from some of the younger stars but they soon settle down. Elsewhere McBurney is excellent as Grosse and really could have done with more to do. Still, what we do get is fantastic.

The Hodgsons all impress, especially the great O’Connor, and we can’t help but find ourselves drawn into their plight, which is real testament to their performances.

It helps that the frights come thick and fast, with an early scene that pretty much lays the groundwork for every terrifying setpiece to come leading to some chilling payoffs. The scenes with young Billy’s tent and The Crooked Man zoetrope (a toy every bit as a ridiculously unsuitable for children as the Annabelle doll of the previous instalment) are standouts, while a scene in the Warren family home involving a Marilyn Manson-like demonic nun is a show-stealer.

Director Wan’s timing during these (and the myriad of other scares) is impeccable, while the flashy camerawork on display throughout shows plenty of creativity. Elsewhere there is some excellent effects work for the key ghouls and ghosts of the story. The restless spirit of Bill Wilkins is a little underwhelming but a certain long-legged, bowler-hatted entity is sure to get lots of love from horror fans while the profain nun is genuinely disturbing at times, especially during THAT intense scene.

This isn’t the only visual element to impress. The cinematography by Don Burgess adds creepy atmosphere and, when combined with the stunning period set dressing, really encompasses the gritty, grimy feel of the Seventies. It looks great throughout, and even the overdose of British Rain™ doesn't feel too much. Instead it adds to the atmosphere, as does the clever decision to play up the spookiness of the Christmas setting with plenty of eerie choir recitations of Christmas carols.

Clearly the whole film is a labour of love — you get the impression that James Wan and his cast and crew really care about doing this story and its characters justice… and scaring the living daylights out of us along the way.

THE WORST BITS (mild spoiler warning): Unfortunately, the main criticism I can level towards The Conjuring 2 is that Wan may be a little too invested in the characters as written by him and collaborators Carey and Chad Hayes, expecting us to share his affection towards them. This leads to a couple of overly sentimental scenes that veer perilously close to schmaltzy at times (a mid-movie sing-along is especially cloying, even if it does highlight a superb period soundtrack). There are some decidedly soppy conversations that may cause eye-rolling from some viewers.

Ultimately however, this is a price I’m prepared to pay for the chance to watch a horror film with genuine heart rather than mindless, inferior knock-offs and cash-ins.

Another problem I had with the film, albeit a rather minor one, was the manner in which the real-life major investigators of the phenomena at Green Street, Maurice Grosse and especially Guy Lyon Playfair, are marginalised in favour of the more glamorous Americans. Perhaps it’s because I was spoiled by Sky One’s exceptional drama, The Enfield Haunting, earlier this year, but it meant that fascinating personalities such as Maurice Grosse are given short shift. In real life his obsession with the paranormal was driven by the tragic loss of his young daughter, also named Janet. In this film that motive is touched upon very briefly in a single throwaway scene, then promptly discarded (along with Grosse himself) for the fast-paced climax.

Of course, this is a work of entertainment, a horror film not an extensively researched documentary, so in that regard perhaps these decisions can be excused, and not only that, it's a sequel to an established title so of course the stars of the previous film will be given more coverage. It’s just a shame because in terms of drama I feel a lot could have been mined from these characters.

VERDICT: It may have a couple of very minor flaws, but with The Conjuring 2 the brilliant Wan shows us all exactly what he brings to the table — skilled and reverential horror direction — and it is bloody impressive. Here’s hoping that this is just the latest chapter in a long-running franchise from this talented group of film-makers. Highly, highly recommended.

The Conjuring 2 hits UK cinemas next Friday, 10 June. Until then check out the film’s Facebook page for more information.

If you haven’t already, do please check out and Like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to! Alternatively, follow me on twitter: The House @HickeysHorrors

Until next time, I hope you enjoyed your stay.

RAW REVIEW: BONE TOMAHAWK

Genre mash-ups are something of a mixed bag, but when they work, they can really deliver.

Along with our beloved Horror, here at the House I also very much enjoy action flicks, especially some spirited martial arts. As well as an appreciation for Eastern cinema, I'm also a big fan of Westerns. Clint Eastwood's iconic roles in the Dollars trilogy and Unforgiven are among my favourites of all time, and I regard John Wayne as one of the most iconic Hollywood stars ever.

So, needless to say, I was excited to watch horror/western combo Bone Tomahawk, which stars one of my favourite actors, Kurt Russell. Russell is no stranger to cowboy flicks following his turn in the star-studded Tombstone and Quentin Tarantino's latest movie The Hateful Eight.

Would this effort chill me to the bone?

Or would I want to chop it down to size?

Read on...

BONE TOMAHAWK (2015)

Dir: S. Craig Zahler

Starring: Kurt Russell, Patrick Wilson, Matthew Fox, Richard Jenkins, Lili Simmons, Evan Jonigkeit, Kathryn Morris, David Arquette, Sid Haig

SPEEDY SYNOPSIS: I'll try not to spoil too much here but continue at your own risk.

Buddy (Haig) and Purvis (Arquette) are a pair of bushwhacked — low-down, dirty ambush bandits who murder sleeping victims then pilfer their goods. However, their latest hit sees them accidentally stumble into the territory of a savage, primitively tribe of cave-dwelling natives and the war-painted troglodytes are not ones to allow the desecration of their holy land to stand.

Meanwhile, Sheriff Franklin Hunt (Russell) oversees a small town of cattle drovers, ably assisted by his young deputy, Nick (Jonigkeit) and elderly, dithering back-up deputy Chicory (Jenkins). When the decidedly suspicious-acting Purvis stumbles into the saloon it isn't long before Hunt works out that he is a wanted man and takes him into custody. 

As Purvis ended up wounded during the arrest, Hunt sends a local bounty hunter, the brash dandy, Brooder (Fox) for the town doctor. However, the doctor is drunk so Brooder instead calls on the doctor's assistant, Samantha (Simmons), who is currently caring for a patient of her own, her husband Arthur (Wilson) a cattle foreman who has been forced to miss the latest job after breaking his leg.

As Hunt leaves for the evening, Samantha tends to the injured Purvis while Nock stands guard.

The following morning brings a shocking revelation, the sheriff's office and cell stands empty while the body of a nearby stablehand reveals it to be the work of the deadly cannibalistic troglodytes.

With diminished resources Hunt sets out to rescue the three captives from the savages, joined by loyal Chicory, the skilled but unlikeable Brooder and the desperate liability that is the disabled Arthur.

As the four men ride out, they face all the dangers of the lawless West... and worse awaits them...

THE BEST BITS (mild spoiler warning): Bone Tomahawk is a MAN-film. Don't get me wrong, I'm not saying this is a film only for one gender, instead I'm saying this is a movie that is all about men and their relationships. The characters each stand for something, yet they also prove compelling and believable. 

Bone Tomahawk is a film that tells a fascinating story the old fashioned way — by giving us a disparate group of men who must exist together for a common goal, and examining not just their conflicts, but also their growing bonds.

In this way the script (by director Zahler) feels not unlike that other great MAN-film, Jaws, by way of the John Wayne classic, The Searchers. The writing for the characters is flawless, never over-egging the dialogue, instead willfully (and skilfully) downplaying it, keeping things subtle and relying on nuance.

Of course, the character work is helped by the absolutely awesome cast.

Russell is fantastic, an old-fashioned hero who you can't help but root for. He's clearly a man who has seen his share of trouble (and proves pretty handy with it), but his small town life has not prepared him for the horrors ahead. What's more his sense of duty, not just to the town he swore to protect but to the young deputy he roped into this mess, cannot allow him to rest, ignoring his imploring wife to head into the badlands to rescue them. Russell is a wonderful actor and he is perfect for this part. He's a joy to watch.

Even more efficient at dealing with the dangers that the journey may bring is Fox's Brooder. He's cocky, a dandy, decidedly prejudiced and racist about any of the other parties that may cross their path. However, there can be no denying his amazing survival skill, while the progressing story reveals the tragic events of his past that led him along this path. This fleshes the character out well, humanising him and smoothing off the rough edges from the character who at first seems a monster. Of course this is not truly the case, it is his sense of honour that sees him ride out to rescue the woman who he feels he endangered. Fox is superbly cast, a handsome man who uses that to give his character an air of superiority. He's also great at letting that air slip as he slowly warms to a group he originally clearly viewed as beneath him.
Chief among these 'inferiors' is clearly Jenkins' befuddled Chicory. Jenkins is a wonderful chracter actor and has never disappointed before. Once again he absolutely nails this part. The slow witted and mild-mannered Chicory could be something of an annoyance, but Jenkins makes the character sweet and somebody you really want to see make it out of the film alive. The writing for the character is nice and clearly establishes his relationship with others — after losing his wife Chicory's life lost meaning and Hunt, feeling some sympathy towards to his plight, took him on in a token role to give him some sense of purpose. You're never quite sure if Chicory understands he only has the position through sympathy, and Jenkins' always excellent work walks that line effortlessly.
The final part of our central quartet is that of Wilson's Arthur O'Dwyer. Arthur is a fascinating character, a man's man facing the fragility of his own form and with it, his inability to protect those he cares about from the dangers of the wider world. Wilson is fast becoming one of my favourite leading men here at the House, and this is another sterling outing from a face that will be very familiar to genre fans. I love the way that Arthur's chracter is the one with the most riding on this mission, but he is also the one most likely to cause it to fail. Some scenes involving his broken leg are certainly not for the squeamish and caused plenty of wincing from the audience with whom I saw the movie.
However, as gruesome as those moments are, few scenes can compete with the shocking scene towards the movie's climax. Having already seen the bestial and terrifying troglodytes in action we are shown in jaw-droppingly gory detail what victims of the savages can expect. This sequence alone is strong enough to make it clear why several movie-goers are classifying this film as a horror movie. What's more the effects work with the gory wounds on display throughout the picture are extremely impressive, as is teh sterling make-up work on the troglodytes.
The villains of the film are a singularly unsettling bunch, their unique calling card being that they don't speak to one another using any form of language, instead communicating via a series of hoots, woops and wails from a bone pipe embedded in their throats. Combine this with their chalky white warpaint, the savagery of their acts and their vile reveal in their home late on and we get some seriously nasty cinematic creations.
However, this is not just a movie about ugliness. The cinematography by Benji Bakshi is truly spectacular and the camera really captures the natural wild beauty of the sprawling vistas through which the group trek. The framing is awesome too, using some breathtaking wide angles to paint a celluloid work of art and really draw you into the film. The locations were all spectacular and Zahler and his crew knew exactly how to shoot them. Absolutely beautiful.
Finally, the tone of the story and the film itself deserve praise. It could have been very easy to create a campy, blood and guts, fun film, but Bone Tomahawk takes its subject DEADLY seriously. This means that it is a quieter, more intense film, but also a more rewarding one, and one which draws us in even deeper. The soundtrack reflects this, rather than rip-roaring Bonanza-esque Western riffs, we get a lot of subtle background music and several scenes play out in near silence. This heightens the tension, the isolation and builds a fantastic oppressive atmosphere, while encouraging us to listen that little bit closer to the superb dialogue as and when it comes. 
There was one line in particular, delivered towards the end of the film, that really stands out in an already great field. It was beautifully delivered, clever, but above all, paid off an emotional theme that carried through the whole movie and damn near brought a lump to my throat. Wonderful stuff.

THE WORST BITS (mild spoiler warning): Honestly, I think the biggest problem with Bone Tomahawk is that it's a movie that is extremely difficult to classify. Too slow for a traditional horror movie but far too visceral for your average western, this is a film that may struggle to find an audience. However, for those prepared to think outside the comfortable constraints of genre-classification, the rewards are plenty.
Yes, it is deep and its runtime may be a little overlong, but it's a world worth immersing yourself in. There is gore and grue, but this is no throw your popcorn at the screen and laugh, slasher flick. The violence is disturbing, shocking and plays a key part in the plot.
The pacing may throw some watchers and, in truth, it is a little erratic, with a lengthy lag in the middle. I appreciate what this does — it lulls us into a false sense of security before subjecting us to the horrors of the troglodyte's lair. It's an effective and well utilised device but the fact remains that it feels somewhat disjointed. Those of you who don't invest in the characters as much as I did may find yourselves fidgeting.

This middle section also does very little to advance the plot. Basically, some stuff happens, it stops happening and we move on with little consequence or at least consequences that feel rather shoehorned in purely to lengthen the journey to the climax.

As bloody as the finale is, it is also a little underwhelming. I was expecting something more spectacular, more thrilling, but as was the way throughout the rest of the movie, rather than embrace the expectations of Hollywood spectacle, it chooses to dash them, instead opting for a grim and gritty realism.

In short, Bone Tomahawk is not your average horror movie, nor is it your typical western. Instead it takes elements of both to create a brave and fascinating hybrid. Viewers who come seeking one or the other may be disappointed, but those like myself, who love both dearly, may bear witness to the birth of a new cult favourite.

THE VERDICT: It has its issues, but despite these, I ADORED Bone Tomahawk. Earlier I called it Jaws meets The Searchers. Add a pinch of The Hills Have Eyes and you're in the right place. Beautiful and disturbing visuals and some brilliant characters brought to life by an incredible cast, Bone Tomahawk is a real hidden gem. Check it out when it hits UK screens on 19 February.


If you haven’t already, do please check out and Like the Hickey’s House of Horrors Facebook page, which you can find here. It gives you a nice quick link to any new posts on this blog, plus regular news updates from around the web. I check the Internet so you don’t have to!
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Until next time, I hope you enjoyed your stay.