James Wan, “The Conjuring” (2013).

The most welcome surprise in James Wan’s The Conjuring isn’t the fact that Wan, purveyor of torture-porn cinema, can be capable of a fairly quiet, almost elegant horror film. The Conjuring was, after all, preceded by Dead Silence (2007) and the surprise hit Insidious (2010) — three relatively calm films that couldn’t be farther from the depredations of Saw (2004) and its sequels. The shocker here is how much mileage Wan gets from restraint and the power of suggestion: from deep blacks to tight close-ups, teasing the viewer with what lies beyond the frame.