Avaliações do Metacritic

Like the wood-grained farmhouse itself — a beautiful piece of production design by Julie Berghoff — The Conjuring has an analog solidity that makes the terror to come almost unbearable.

A sensationally entertaining old-school freakout and one of the smartest, most viscerally effective thrillers in recent memory.

The movie belongs to the women, for once, and The Conjuring doesn't exploit or mangle the female characters in the usual ways. Farmiga, playing a true believer, makes every spectral sighting and human response matter; Taylor is equally fine, and when she's playing a "hide-and-clap" blindfold game with her girls, she's like a kid herself, about to get the jolt of her life.

Wan has marshaled his crack sense of supernatural menace into making his most satisfying scare story yet.

The handsomely shot, expertly button-pushing scare-fest has the polish and the cast to draw older audiences who grew up on shockers built from performances rather than CGI.

A sense of dread permeates The Conjuring from the start, and it’s delightful.

The Conjuring, at points, is terrifying. Wan really understands how active, acrobatic camerawork can enhance the storytelling without breaking the fourth wall, a technique abused by today’s horror craftsmen.

The Conjuring is a throwback to old-school spine tingling, although this movie is less Halloween theme ride and more 1970s post-"Exorcist" terror.

Though The Conjuring claims to be based on a true story, in truth it's based on every horror film that's come before it.

The Conjuring's problem, beyond its lack of a conjuring, is how its otherworldly hokum is stubbornly of this world.