The Conjuring 2 – 2016 Wan

James Wan is very active with the camera in The Conjuring 2. He gives a tour of the Hodgson (where 75% of the film takes place) pulling in and out of these synthesized rolling tracking shots. It is effective- I think it makes not only for some beautiful shots, but connects to the eerie otherworldliness of the house married to the narrative
Wan takes the same concept above for the house to Vera Farmiga’s Lorraine Warren character. She and the house both “shine” to use the concept from Kubrick’s horror masterpiece and it would make sense that Wan often glides the camera in and out on Vera’s character in the same unbroken take just like he paces about the house
A notable night to day transition shot. The camera floats from the haunted chair at night to the window (showing it is now daytime) and then the camera hovers back behind the TV antenna
A great frame at the 64 minute mark- disappointed I couldn’t find it (this is not it) of the window in the kitchen making a frame of the backyard and the swing

A great frame at the 64 minute mark- disappointed I couldn’t find it (this is not it) of the window in the kitchen making a frame of the backyard and the swing

Wan uses the long unbroken take with Patrick Wilson’s character as he faces the camera and interrogates the girl/spirit. Wan uses shallow focus and the entire frame for the duration. An impressive sequence

Wan uses the long unbroken take with Patrick Wilson’s character as he faces the camera and interrogates the girl/spirit. Wan uses shallow focus and the entire frame for the duration. An impressive sequence

The inspired 360 degree crucifix room shot

The inspired 360 degree crucifix room shot

The movie has flaws, a bad “I started a joke” way-too-on-the-nose music drop by the Bee Gees like a bad Robert Zemeckis instinct
Deep focus technology update on the split diopter shot of the Janet girl front and Patrick Wilson’s character behind near the finale