“The Conjuring 2” makes it easy to revel, because Wan has a gift that most slam-bang horror directors today do not: a sense of the audience — of their rhythm and pulse, of how to manipulate a moment so that he’s practically controlling your breathing. His specialty is the tracking shot, with the camera whooshing forward, the way it did in “The Shining, ” only Wan, in “The Conjuring 2, ” sends it rushing through creaky floorboard hallways and cramped bedrooms, which are made to seem much larger because the images are so alive they’re almost vibrating. All that restless movement suggests a force outside the camera, one the rooms themselves can barely contain. The visual energy of Wan’s film making turns a homely 10’ x 12’ back bedroom into an abyss.(If he ever bottoms out as a filmmaker, he’d make a terrific real-estate broker.) Wan is also a wizard of timing, and in “The Conjuring 2, ” he toys with the audience by throwing something routinely unsettling at us(like, say, a toy firetruck that starts to move on its own), then letting that omen of menace pass, at which point the movie will simply pause, stopping dead in its tracks. It’s right there, in the middle of that vacuum of quiet, that our anxiety starts to rush in.
reverting you this was Must watch movie .