Beware of her chilling wail…she will stop at nothing to lure you into the gloom. Their only hope to survive La Llorona’s deadly wrath may be a disillusioned priest and the mysticism he practices to keep evil at bay, on the fringes where fear and faith collide. 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. In 1970s Los Angeles, La Llorona is stalking the night-and the children. As the centuries have passed, her desire has grown more voracious…and her methods more terrifying.
La Llorona creeps in the shadows and preys on the children, desperate to replace her own. They are lethal, and those who hear her death call in the night are doomed. In life, she drowned her children in a jealous rage, throwing herself in the churning river after them as she wept in pain. The mere mention of her name has struck terror around the world for generations. A horrifying apparition, caught between Heaven and Hell, trapped in a terrible fate sealed by her own hand. Here's an exceptionally lengthy official plot synopsis: if it can survive Avengers: Endgame landing in theaters just one week after its arrival. All the pieces are here for The Curse of La Llorona to be a monster hit, which it just may end up becoming. It's got a strong cast (including Linda Cardellini, Raymond Cruz, Patricia Velasquez, Marisol Ramirez and Sean Patrick Thomas), and roots its story in a mostly-unexplored-on-film urban legend. See what I mean? The Curse of La Llorona (executive produced by The Conjuring's James Wan and directed by Michael Chaves) looks well-shot, a little more weighty than these movies usually are. And while it may appear to be yet another jump scare orgy, I'll admit that it looks markedly better than most of the jump scare orgies I've suffered through. What I'm trying to say here is: The Curse of La Llorona probably won't be for me, but there's zero doubt in my mind that there's an audience for it. The success of the Annabelle and Ouija franchises prove a gigantic portion of the population loves being startled, cheap scares or not, and who am I to roll my eyes in the face of such box office receipts?
That said, it's clear I am very much in the minority here. Virtually any filmmaker can craft a moment comprised of a smash-cut, a loud-ass noise, and something leaping into frame, but it's just not a style of horror I can get onboard with. I have a confession to make: I don't have much use for these PG-13 horror movies that work their audiences with insanely loud jump scares rather than, y'know, actual horror.
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