When James Wan released Insidious in 2010 and the original The Conjuring three years later, it surprised a lot of horror audiences and critics. The director of Saw, and the producer of its string of increasingly grisly sequels, seemed to have taken a sharp right turn, abandoning what fans call “extreme cinema” and detractors dismiss as “torture porn” for haunted-house atmospherics and a more creeping variety of dread.
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