‘The Conjuring: Last Rites’ puts a tombstone on a slackening spook series

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This fourth “The Conjuring” movie claims to be “Last Rites” and let’s hope that’s a promise.

It’s almost certain that the Conjuring Cinematic Universe will carry on, with its terrifying nun, creepy doll or some other cursed item taking center stage. However, the story of Ed and Lorraine Warren has been exhaustively explored in the movies so far, and there seems to be no fresh ideas left to explore, as this last movie clearly shows.

I can’t help but give credit where it’s deserved: The horror franchise has produced some truly chilling and captivating installments, largely due to the outstanding performances of Patrick Wilson and Vera Farmiga as the Warrens – a fictionalized portrayal of an actual notorious couple. These films have been the cream of the Conjuring series, delving into themes of faith, the concept of ‘seeing is believing’ in relation to both God and the Devil. The Warrens, on screen at least, are presented as a harmonious married duo, valiant heroes in the battle against supernatural forces. Although on-screen text may hint at their controversial nature, the films themselves steer clear of exploring these scandals.

In the initial two movies under James Wan’s direction, we witnessed an impressive exploration of vision concepts – physical, intuitive, and through a camera. Stunning camerawork mirrored the audience’s perspective with Lorraine’s dreadful, otherworldly nightmares involving hauntings, possessions, and supernatural entities. Michael Chaves, who directed “The Nun II” and “The Conjuring: The Devil Made Me Do It,” largely maintains these standards, although his style is more flamboyant compared to Wan’s subtle approach.

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In a departure from the fundamental techniques used for creating suspense in “The Conjuring” Universe, its follow-up strays into monotonous repetition, causing a sense of drowsiness.

In a new twist of events, Chaves is back as director for “The Conjuring: Last Rites.” The script, penned by Ian B. Goldberg, Richard Naing, and David Leslie Johnson-McGoldrick, hints at an emotional finale that would have a profound impact on the Warren family, concluding their careers on a somber note. However, “Last Rites” unfortunately feels more like a predictable farewell for the Warren clan rather than a climactic, dark conclusion.

If you’ve watched any “Conjuring” film, you have an idea about what to anticipate, as “Last Rites” sticks closely to the pattern it sets. The story begins in 1964 with a distressing event surrounding the birth of the Warrens’ cherished daughter Judy, but most of the action occurs in 1986, a year of terrible happenings for the unfortunate Smurl family from West Pittstown, Penn. Their home was plagued by an ominous antique mirror featuring three carved baby heads, which they had purchased from a flea market. After a string of misfortunes and escalating hauntings, the family became the center of a media storm. In response, the Warrens arrived to exorcise any supernatural presences within the house.

In this instance, Judy (portrayed by Mia Tomlinson) finds herself in a unique predicament – wedding preparations are underway, yet she’s plagued by recurring psychic visions inherited from her mother. It’s Judy who first approaches the Smurl household, and after some hesitation, her parents, who had wanted to retire from ghost-hunting, decide to join her on one final investigation. The events that follow involve aggressive spirits, chilling baby dolls, and demonic possessions.

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In “Last Rites,” the central metaphor implies that viewing oneself is akin to gazing into a mirror, implying the necessity of acknowledging and confronting the deepest, most fearsome aspects of ourselves instead of avoiding them. Lorraine, in an attempt to shield her daughter from her own past, has grappled with the most horrifying specters, phantoms, and apparitions, but she is powerless to prevent Judy’s fate from unfolding. The path forward is to avoid turning away.

In the modern twist, “Last Rites” introduces Judy’s fiancé Tony (played by Ben Hardy), as a novel addition to the family enterprise. Although his role in the narrative may appear slightly unconventional and unexpected, it proves crucial for the Warren plotline to conclude triumphantly (despite the initial impression of impending family catastrophe never fully materializing).

In these films, Wilson and Farmiga have always been the main focus, and without them, the “Conjuring” series wouldn’t be as enjoyable. However, with this fourth movie, the stories of the Warrens have been explored so extensively that the scares now feel predictable and repetitive. Watching the gloomy “Last Rites,” it has never been more apparent that perhaps it’s time to move on from these movies.

Katie Walsh is a Tribune News Service film critic.

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2025-09-05 00:01