Paranormal investigators Ed and Lorraine Warren work to help a family terrorized by a dark presence in their farmhouse. Forced to confront a powerful entity, the Warrens find themselves caught in the most terrifying case of their lives.

Credits: TheMovieDb.

Film Cast:

• Lorraine Warren: Vera Farmiga
• Ed Warren: Patrick Wilson
• Carolyn Perron: Lili Taylor
• Roger Perron: Ron Livingston
• Cindy Perron: Mackenzie Foy
• Christine Perron: Joey King
• Nancy Perron: Hayley McFarland
• Judy Warren: Sterling Jerins
• April Perron: Kyla Deaver
• Andrea Perron: Shanley Caswell
• Drew Thomas: Shannon Kook
• Brad Hamilton: John Brotherton
• Bathsheba Sherman: Joseph Bishara
• Georgiana Moran: Marion Guyot
• Debbie: Morganna Bridgers
• Camilla: Amy Tipton
• Rick: Zach Pappas
• Leah: Rose Bachtel
• David: James D. Nelson
• Maurice Theriault: Christof Veillon
• Sra. Walker: Carmella Gioio
• Padre Gordon: Steve Coulter
• Estudante: Ashley White
• Estudante #1: Kymoura Kennedy
• Estudante #2: Sean Flynn
• Padre católico: George T. Zervos
• Mulher suicida: Desi Domo
• Rory (uncredited): Nate Seman
• Woman in Audience (uncredited): Lorraine Warren
• Reporter: Arnell Powell
• Man in Audience (uncredited): Tony Spera

Film Crew:

• Director: James Wan
• Casting: Anne McCarthy
• Director of Photography: John R. Leonetti
• Stunt Coordinator: Joel Kramer
• Dialogue Editor: Daniel Laurie
• Producer: Rob Cowan
• Screenplay: Carey Hayes
• Screenplay: Chad Hayes
• Executive Producer: Walter Hamada
• Producer: Peter Safran
• Editor: Kirk M. Morri
• Local Casting: Craig Fincannon
• Local Casting: Lisa Mae Fincannon
• Stunts: Jayson Dumenigo
• Original Music Composer: Joseph Bishara
• Best Boy Grip: Scott R. Davis
• Casting Associate: Wayne Morse
• Production Design: Julie Berghoff
• Sound Re-Recording Mixer: Steve Maslow
• Executive Producer: Dave Neustadter
• Producer: Tony DeRosa-Grund
• Steadicam Operator: Mark Meyers
• Costume Design: Kristin M. Burke
• Set Buyer: Tim Pope
• Casting: Kellie Roy
• Special Effects Key Makeup Artist: Kelly Golden
• Makeup Effects: Justin Raleigh
• Supervising Sound Editor: Joe Dzuban
• Dialogue Editor: Justin Dzuban
• Makeup Department Head: Eleanor Sabaduquia
• Set Decoration: Sophie Neudorfer
• Art Direction: Geoffrey S. Grimsman
• Foley Artist: John Sievert
• Foley Mixer: Randy Wilson
• Sound Re-Recording Mixer: Gregg Landaker
• Title Designer: Aaron Becker
• Stunts: Tree O’Toole
• Construction Coordinator: Tom Jones Jr.
• Still Photographer: Michael Tackett
• Visual Effects Supervisor: Ray McIntyre Jr.
• Music Editor: Lise Richardson
• Foley Artist: Stefan Fraticelli
• Costume Supervisor: Janet Ingram
• Sound Effects Editor: Bruce Tanis
• Sound Effects Editor: Joseph Tsai
• Production Executive: Katherine E. Beyda
• 24 Frame Playback: Charles Laughon
• Key Makeup Artist: Rick Pour
• Hair Department Head: Yesim ‘Shimmy’ Osman
• Key Hair Stylist: Kelly E. Marlow
• Art Department Coordinator: Lindsey Suggs
• Leadman: Polar Bear Shaw
• Sculptor: Katrina Johnson
• Property Master: Robert Beck
• Special Effects Supervisor: David Beavis
• Chief Lighting Technician: Tim Marshall
• Key Costumer: J. Brad Watson
• Makeup Artist: Erin Keith
• Concept Artist: Jerad Marantz
• Supervising Dialogue Editor: Stuart McCowan
• Sound Mix Technician: Phil Lee
• Visual Effects: Tammy Sutton
• Production Assistant: Erin Lambert
• Sound Mix Technician: Mark Purcell
• Unit Publicist: Patricia Story
• Script Supervisor: Cate Hardman
• Digital Intermediate Producer: Jeff Halsey
• Hairstylist: Christina Raye
• Assistant Sound Editor: Amy Felton
• Unit Production Manager: Christopher V. Bromley
• First Assistant Editor: Dennis Alaniz
• Post Production Supervisor: Jason Leib
• Rigging Gaffer: Eddie Bowlin
• Transportation Coordinator: Ty Church
• Transportation Captain: Mark McNeill
• Stunts: Joel Michael Kramer
• Makeup Artist: Jorie Malan
• Production Office Coordinator: Ingrid Johanson
• Stunts: John Gilbert
• Greensman: Henry Dando
• Assistant Accountant: Sherry Kecskes
• First Assistant Director: Albert Cho
• Production Assistant: Dylan Doornbos Hayes
• Location Manager: Bass Hampton
• Visual Effects: J. Thomas Wilson
• Second Second Assistant Director: Brian Avery Galligan
• Sound Mixer: Carl Rudisill
• Digital Intermediate: Mark Griffith
• Studio Teacher: Stephanie Fowler Adams
• First Assistant “B” Camera: Dan Turek
• Rigging Grip: Scott Christopher Harmon
• Assistant Editor: Trudy Yee
• Stunts: Nancy Thurston
• Assistant Property Master: James D. Nelson
• Digital Imaging Technician: Mark Gilmer
• Makeup Artist: Anthony Brooks
• Foley Editor: Trent Richmond
• ADR Mixer: Eric Gotthelf
• Cableman: Elanor Rimassa
• Key Rigging Grip: Dennis Zoppe
• “B” Camera Operator: Darrell B. Sheldon
• Digital Intermediate Editor: Bob Fredrickson
• ADR Mixer: Thomas J. O’Connell
• Key Grip: Dan Reilly
• Special Effects: Michael Hauck
• Foley Mixer: Ron Mellegers
• Visual Effects: Jordan Alphonso
• Visual Effects: Jacob Kebodeaux
• Second Assistant “A” Camera: Kevin Huver
• First Assistant “A” Camera: Scott Ronnow
• Production Assistant: Amber Axelton
• Set Dresser: James Johnston
• Boom Operator: Chris Main
• Best Boy Grip: Philip Dann
• Greensman: Kevin Dick
• Hairstylist: Bernard Williams
• Production Assistant: Tarin Squillante
• Craft Service: Michelle Lee Brown
• Craft Service: Robyn M. Brown
• Second Assistant Director: Jeff Bilger
• Animal Wrangler: Ursula Brauner
• Special Effects: David Hill
• Production Accountant: Peter McManus
• Stunt Coordinator: Norb Phillips
• Production Secretary: Hope Demling
• Standby Painter: Barbara Seinfeld
• Storyboard Artist: John Fox
• Stunts: Luci Romberg
• Set Dresser: Michael Shapiro
• Assistant Accountant: Gayoung Kim
• Second Assistant “B” Camera: Roy Knauf
• Assistant Chief Lighting Technician: Cristiano Palermi
• Assistant Editor: Liz Calandrello
• Assistant Accountant: Timothy O’Malley
• Utility Sound: Albert Hedgepeth
• Greensman: Mitchell Martishius
• Set Dresser: Sean Marlow
• Set Dresser: Freddy Phelps
• Set Dresser: George Winn III
• Set Dresser: Eric Brandon West
• Set Costumer: Jane Beck
• Extras Casting: Vanessa Neimeyer
• Animal Wrangler: Alicia Rudd
• Animal Wrangler: Shawn Weber
• Marine Coordinator: Eugene Woodbury
• Production Assistant: Connor Hayes
• Production Assistant: Corey L. Howard
• Production Assistant: Rachel S. Mangum
• Production Assistant: Ross Burchfield
• Production Consultant: Tony Spera

Movie Reviews:

• John Chard: It’s November 1st, 1971, I’m sitting here with Carolyn Perron, who with her family, has been experiencing supernatural occurrences.

  The key with The Conjuring is not that it has freshness on its side, as evidenced by the ream of horror fans arguing on internet sites about “nothing new on the table” , but while those fans will be going hungry for a very, very long time, The Conjuring does everything right for the splinter of horror it deals with.

  There’s a lot to admire about a horror film that in this day and age stands tall and proud against the ream of remakes, sequels and teen friendly slashers that “haunt” the multiplexes with all too much frequency these days. Free of gore and sex, this was automatically going to alienate a good portion of the lustful members of the horror fan base, but for those who like their horror served with appetising scares and a cauldron of suspense, then this delivers plenty to your particular table.

  Forget the “based on a true story” tag, since it’s kind of irrelevant in this new technological age, it’s a selling gimmick that actually means “this story might be true and we might have played with it a bit”. Regardless of hoax charges and embellishments, just buy into the premise, commit to it as a scary story in the same way as director James Wan has, for then the rewards are there for the compliant.

  Story essentially is based around an investigation in the early seventies by paranormal specialists Ed and Lorraine Warren, who aided the Perron family as they were victims of dreadful supernatural events at their Rhode Island home. Wan builds it deftly, letting us into the Perron families lives as they move into what they believe to be a dream home. Then things start to happen, but again Wan builds it in slow instances, creating a palpable sense of dread, his camera work intelligent. So when the big moments come they have maximum impact and have us also yearning for the Warren’s to get involved.

  There is no over killing of the boo-jump scares, they are placed with care and marry up superbly with the mounting tension. Naturally all the cliché conventions of the haunted house movie are here, strange smells, creaky doors, ominous cellar and etc, yet these are supplemented with Wan’s talented knack for a good scare and a very effective production design. From mysterious bruises and literal leg pulls – breath holding games of hide and seek – to bona fide pant soiling moments, The Conjuring is a lesson in sustained unease until the big finale is unleashed.

  The script is devoid of cheese and pointless filler, itself refreshing in a horror sub-genre that suffers often with these problems. Joseph Bishara’s musical score is an absolute nerve shredder, and again it’s a refreshing accompaniment because it doesn’t resort to telegraphed shrieks to tell us to be afraid, it never overwhelms a scene. John Leonetti’s cinematography has Gothic textures, both in the house and outside of the lakeside farmhouse, while the strong lead cast of Vera Farmiga, Patrick Wilson, Lili Taylor and Ron Livingston come up trumps for sure.

  Met with critical and box office success, The Conjuring justifies its reputation as a superb haunted house movie. 9/10

• Per Gunnar Jonsson: The Conjuring is a fairly classical horror/haunted house/exorcism movie. That was pretty much what I was hoping for. Slow and creepy build up to a final outburst and confrontation with an evil entity. This is a good movie although it is not really something new in terms of story. It is fairly impossible not to think about, and make comparisons with, The Amityville Horror when seeing this movie. I do not think it really deserves the glowing 9 or 10 star ratings that I have seen but it certainly do not merit those 1 or 2 star ones either. What were these people expecting?

  This is a solid effort of making a movie along the classical lines of supernatural possession. As I wrote, it is not really something new, but it is nice to see a new movie using this kind of story without just turning it into a CGI gore-feast. Sure, the movie also includes the traditional pitfalls that most horror movies apparently must have like people thinking it is a good idea to walk down into the dark and scary basement all alone in the middle of the night.

  One thing that irked me with the movie though was the idea of phantoms and performing exorcism being presented as kind of normal and accepted things. Of the movie would have played itself out 70 or so years earlier maybe but in the 1970′s? It just felt somewhat surreal to see this “ghosthunter” make presentations and talk to people like supernatural entities and the practice of exorcism was just things that happened.

  The we have the ending of course. Not that it was overly bad but christ, if you are going to do an exorcism then do it damn it. Do not stop the procedure and look lost every time something goes bump.

  Anyway, I was not sure whether I was going to be disappointed or pleased when sitting down to watch this movie. On the whole I was pleased. It was a nice to watch a movie that was going back to the traditional values in horror movie making and it was as well implemented as one could expect.

• Gimly: I’m a fan of Wan, and while I must say I believe that _The Conjuring_ is pretty severely overrated, it’s also one of the best horror films to have hit the mainstream in the past few years.

  _Final rating:★★½ – Had a lot that appealed to me, didn’t quite work as a whole._

• JPV852: Hadn’t seen this in a while and watching it again in preparation for the third movie, found it to be well done. I’m not much for these supernatural horror movies but with James Wan’s camera work, and the screen presence from Patrick Wilson and Vera Farmiga, makes it an entertaining flick. **3.75/5**