This is the type of brave, but stripped down horror filmmaking that forces you to analyze other elements besides just the full effectiveness of its frightening intent. Then we have something like James Wan's The Conjuring, an artful, confident throwback that succeeds in maintaining a high tensile level of pressure on our senses, crafting vital jump scares, a potent human element and all encompassing technical prowess. If something isn't scary to someone – someone who earnestly believes that of course – then a fright flick has failed at its core intent. Like comedy, the horror genre can be a very subjective beast, finding or missing its mark as much do to its craft and execution as it does the particular individual who plops themselves into a theater seat.
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