Best scene to me has the Warren's, a paranormal researcher looking for evidence of the afterlife and his equipment tech, a mother of a tormented, possessed girl, and the centerpiece of a demon's focus sitting in the chair where a man died in a family home in London, 1977.
Frances O'Connor is the mother of four children, her second oldest--the possessed girl the Warrens will hope to free from a demon's grip--cannot escape the torment of a spectre in their Enfield council house, seemingly an elderly man of seventies who perished in a chair which rests in a corner of the house. I like the visual Wan applies by having the v-corner walls behind the chair crippled by dead wallpaper, specializing that area of the house as distinctively a place where something significant happened. It is as if an imprint of death was left there. Even the chair itself has decayed leather, giving it a weary visage.
Ed Warren has the girl fill her mouth with water but "Billy Wilkins" won't show himself unless those in the living room turn their backs the girl. Wan has the camera focused on Patrick Wilson's face while the background of the girl's is out of focus and gradually distorting into a slight, faint form of Billy. A communication has formed, but Billy isn't the focal spook of this film...he's a pawn in a game.
Frances O'Connor is the mother of four children, her second oldest--the possessed girl the Warrens will hope to free from a demon's grip--cannot escape the torment of a spectre in their Enfield council house, seemingly an elderly man of seventies who perished in a chair which rests in a corner of the house. I like the visual Wan applies by having the v-corner walls behind the chair crippled by dead wallpaper, specializing that area of the house as distinctively a place where something significant happened. It is as if an imprint of death was left there. Even the chair itself has decayed leather, giving it a weary visage.
Ed Warren has the girl fill her mouth with water but "Billy Wilkins" won't show himself unless those in the living room turn their backs the girl. Wan has the camera focused on Patrick Wilson's face while the background of the girl's is out of focus and gradually distorting into a slight, faint form of Billy. A communication has formed, but Billy isn't the focal spook of this film...he's a pawn in a game.
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