After decades of fighting malevolent spirits, Ed and Lorraine Warren agree to take on one more case – one which would devastate their family to the point of retiring for good. Following four films and the inception of a horror cinematic universe, The Conjuring: Last Rites marks the end of an era for one of the most iconic horror franchises of all time.
The Devil Made Me Do It was a strange tonal detour for the franchise – I appreciate its desire to do something unique, but the choice to go into a crime thriller direction lessened the impact of the horror. This sequel returns to a tone more indicative of its roots, and the benefits are seen in the quality of the horror. The first two Conjuring movies were relentless in how they created a chilling atmosphere, and this film gets very close to that level despite not quite reaching it. From the outset, director Michael Chavez locks in a sense of unease, fear and tension that stays consistent through every subsequent horror sequence. While not utterly terrified, I was on-edge any time the film moved into the Smurt family home, cleverly utilising framing, cinematography and pace to capture an eerie atmosphere.
The first two acts are full of the chills and thrills you hope to get from a Conjuring film – it’s consistently scary and builds nicely with increasing paranormal activity. There’s also a large variety of scares being utilised – from classic in-your-face jumpscares and entities hidden in the background, all the way to gruesome body horror. The switching between these styles keeps you on your toes and builds up that terrifying atmosphere that works so well. The entities haunting this family are creatively and sparingly used in these early acts, shrouding them in shadows for some huge, memorable scares. It’s the third act, when shit hits the fan, that the horror actually loses some of its impact. The effectiveness of the horror early came from the hidden, ghostly appearance of the spirits, so in the third act when one of these entities is a lot more tangible it’s just not nearly as scary. It comes across as less of a supernatural horror and more of an “axe murderer” horror. It’s not that it’s not scary in those moments, it’s just not haunting in the same way.
The horror content is contrasted with the very prominent focus on the Warren family and their relationships with each other, primarily Ed and Lorraine’s connection to their daughter, Judy. There’s a strong emotional throughline centred around Judy, her relationship with her mother and her connection to the spirit world. We get multiple scenes throughout the film exploring her inner struggles and desire to keep everyone around her safe, and every one of those is engaging without slowing down the pace. The balance between the horror and family-centric arc is very consistent, and that’s thanks to the writers tying the two together through Judy. This really is Judy’s film – she’s the main character that every arc feeds through, ensuring there’s no subplot that feels out of place. She has a very fulfilling development arc that’s interesting to follow even without considering the horror. This isn’t a first for the franchise – the Conjuring films have always done a great job of making sure to give the Warrens an arc that you can get emotionally invested in. It’s the reason why they’re such beloved characters – we’ve had four films of growth, and the growth continues in here.
It should also be noted that while this might not be the final film in the wider Conjuring universe, it is the grand finale of the mainline entries following the Warrens, and it presents itself as such. From the get-go there’s the feeling that this is the last time we get to see these characters – there’s sentimental undertones but also celebratory ones. Amongst all of the horror-centric chaos, it finds time to celebrate the legacy this franchise and its characters have left. This feeling of the franchise coming to a close adds a little more weight to my enjoyment of the film, especially being a die-hard fan from all the way back in 2013.
Performance-wise, there’s no looking past what Patrick Wilson and Vera Farmiga have brought to these characters. They’re synonymous with Ed and Lorraine Warren and have developed the characters into some of the best in any horror franchise. They sell the emotional content just as well as they sell the horror – every one of their scenes is elevated thanks to their riveting chemistry. Stepping into the role of Judy Warren for the first time is Mia Tomlinson, and she rises to the occasion with a compelling performance that brings out her inner struggles while enhancing the stakes of the horror. She shines brightest when acting alongside Farmiga – the two of them share instant chemistry, which sells us on their mother-daughter relationship. Of the supporting roles, Ben Hardy is surprisingly likeable as Tony Spera – he’s more than just the typical boyfriend character, having his own arc that allows Hardy to show some depth. Then there’s the return of Steve Coulter as Father Gordon, as it just wouldn’t be a Conjuring film without him. He’s able to effortlessly leap back into the role and carry a number of crucial sequences on his own.
In the end, The Conjuring: Last Rites is a chilling conclusion to one of the biggest money makers in the horror genre. It excels not only in its horror sequences but also in its character work. It’s one of the few horror franchises with character development arcs that are almost as engaging as the scares. Speaking of scares, there’s plenty to go around, with a spine-chilling atmosphere created by the supernatural entities that haunt this narrative. The mayhem of the final act does result in a slight drop in the effectiveness of the horror, but it’s still thoroughly entertaining.
8/10
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