Based on the true-life Smurl haunting and a story co-authored by horror maestros James Wan and Johnson-McGoldrick, “The Conjuring: Last Rites” serves as a poignant finale to a long-running franchise. Starring the ever-brilliant Patrick Wilson and Vera Farmiga as Ed and Lorraine Warren, alongside Mia Tomlinson and Ben Hardy, the film attempts to wrap up the saga on an emotional high note.
The story unfolds with an effective pace, masterfully weaving together the terrifying case of the Smurl family with the personal journey of the Warrens. The constant back and forth between their two worlds keeps the narrative engaging. For a franchise finale, the film wisely leans into the emotional connection between its characters, an element that feels perfectly suited for a goodbye to the series.
While the plot doesn’t feel particularly fresh—it is, after all, another case for the Warrens—the writing is at once both a strength and a weakness. The film manages to pique your curiosity with the burning question, “Why are we staying in a haunted house?” It’s a brilliant piece of meta-commentary that directly addresses the audience’s typical disbelief in horror films, making for a truly smart moment in a genre often considered silly. However, some scenes, such as the moment towards the climax where the demon unwraps a mirror, feel like missed opportunities. One can’t help but wonder what could have been if they had just held it the other way around.
The character development, particularly for the Warrens, is beautifully executed. Wilson and Farmiga’s chemistry is as strong as ever, portraying a couple who are not just partners in the paranormal, but in life. The bond between the Warrens and Tony Spera (played by Ben Hardy) is also incredibly organic, and the film leaves a tantalizing opening for future stories with Judy Warren and Tony, perhaps a streaming series exploring their early years.
Unfortunately, the emotional connection of the Smurl family doesn’t quite resonate with me as a family. There’s a disconnect in how their plight is portrayed, a feeling that a bit more creative license might have made them feel more emotionally connected.
The performances across the board are truly awesome. Vera Farmiga as Lorraine and Patrick Wilson as Ed deliver their roles with a masterful touch, showcasing their long-standing chemistry. The emotional connection they portray feels entirely real. Madison Lawlor and Orion Smith, as the younger versions of Lorraine and Ed, also give remarkable performances; they were so convincing I initially thought they were de-aged CGI versions of Farmiga and Wilson. Mia Tomlinson and Ben Hardy also shine, with Ben Hardy’s portrayal of Tony Spera being particularly organic and a welcome addition to the cast.
On the technical side, the cinematography is simply beautiful. A standout car scene in the beginning, with rain-soaked windows and the camera focused on the outside mirror, evokes the moody, atmospheric feel of films like “The Batman.” This visual elegance is maintained throughout, with brilliant use of silhouettes and a powerful sound design that creates an amazing atmospheric horror. The sets were also meticulously done, adding a layer of authenticity.
From a horror perspective, this film is a bit of a letdown. Director Michael Chaves, in his fourth film for the universe, delivers a visually stunning but not-so-scary experience. Every jump scare feels predictable and a rehash of tired tropes. What stands out, however, is the bold choice to show demons being afraid of biblical verses and burning Bibles and crosses. This raises the stakes in a way that’s genuinely unsettling.
Ultimately, while I found this to be a weaker addition in terms of horror compared to others in the franchise, I’d still prefer “The Nun II” any day—the film’s emotional core makes it a perfect, albeit bittersweet, conclusion. For fans of the franchise, this is a beautiful goodbye.
