The Conjuring: Last Rites – Review

The appeal of The Conjuring goes deep. For all that is human nature to fear the unknown, there’s also an inherent sense of curiosity and intrigue that follows, and the wide-spanning cinematic horror universe, comprising the mainline films centred on Ed and Lorraine Warren, as well as the Annabelle and The Nun spin-off instalments, has proven effective at amping up the disquiet.

Part of the magic lies in its deft execution of tension, employed through clever misdirection, practical scare effects, and traditional jump scares – a tried-and-tested formula now weaved into its identity. The other comes in the form of (partial) realism, with each entry in the franchise inspired by true-life investigations and coloured by dramatisation, introducing an added layer of dreaded possibility.

The Conjuring: Last Rites, in a last hurrah for the Warrens, embraces these staple elements in the way it knows best, topped off with a healthy dose of family drama that brings closure to their journey on the silver screen, despite a middling climax. Set to conclude Phase One of The Conjuring movie universe, the latest outing is based on the real-world case of the Smurl haunting, involving a family that was tormented by a demon between 1974 and 1989 in their Pennsylvania house. This time, however, new factors are in play, including a supernatural entity with a familiar connection to the Warrens, the introduction of their daughter Judy (Mia Tomlinson, The Lost Pirate Kingdom), and the collision of past and present events. 

Played respectively by Patrick Wilson (Fargo) and Vera Farmiga (Bates Motel) for more than a decade, Ed and Lorraine continue to be the heart and soul of the franchise. The on-screen couple oozes magnetism just like before, sharing an electric chemistry that has already been established in previous movies, and amplified by the cast additions of Tomlinson and Ben Hardy (X-Men: Apocalypse), who plays Judy’s boyfriend Tony Spera. 

Wilson and Farmiga’s strong grasp of the characters is nothing new for returning fans, but the increased focus on family dynamics offers the chance to explore their never-before-seen parental sides. The nuance humanises Ed and Lorraine in a way that wasn’t done before by putting their vulnerabilities out in the open, while strengthening their complementary personalities as longtime partners – the latter softening the edges (or Ed-ges) of her husband’s overprotective, guarded fatherly instincts, and Ed’s rock-steady presence grounds Lorraine’s concern for their daughter.

The contrasting depictions allow for some humour during domestic moments, and it’s apt that The Conjuring: Last Rites adopts a full-circle narrative to tie back the current timeline with the younger-Warrens days, highlighting the significance of lineage. Similar to the previous two movies, it works well as a self-contained story, requiring no understanding or knowledge of existing lore, though franchise veterans should keep an eye out for easter eggs and special appearances scattered throughout its 135-minute runtime.

The chunkier length comes with good reason. Coming in two minutes more than its 2021 predecessor, The Devil Made Me Do It, the penultimate entry is the longest in the mainline series, and it has the narrative build-up to show for it. Worldbuilding is one of the core pillars of a Conjuring endeavour, and here, it’s divided between the events of the Smurl haunting, the side plot of the Warrens’ self-imposed hiatus from paranormal investigations, and their individual family drama. As a result, it takes a while for the climactic peaks of storytelling to unfold, which in turn affects the pacing. 

It’s not the best effort from the team, led by Michael Chaves, who directed the previous film, and producers James Wan (also the franchise creator, for the uninitiated) and Peter Safran, among others. Where the shift to familial relationships delivers on the emotional delivery, it veers into cliché territory in the closing act, setting the stage for an underwhelming, rushed, and too-convenient resolution that flouts established demonology and supernatural rules within the world of The Conjuring. Audiences learn about the backstory of the demonic entities, only to discover there’s more than meets the eye, but the final reveal leaves more questions than answers and fails to stick the landing. 

When the scares kick in, The Conjuring: Last Rites cements the franchise’s status as a master at the craft. Unlike some works in the genre, it reinforces the long-standing commitment to old-school frights instead of body horror and full-on gore (fair warning – there are scenes with copious amounts of blood), relying on clever cinematography and editing, including found-footage handling, to convey suspense. Misdirection remains the oldest and best trick in its playbook, consistently lulling viewers into a false sense of security, with traditional jump scares and practical effects working wonders in evoking the organic sensation of fear.  

More impressively, the palpable tension holds up from one setpiece to the next, making it easy for the adrenaline and lingering anticipation – or dread, depending on the individual – to settle in the veins. Intense, blood-pumping chase sequences and visceral action make a welcome return, even if most back-to-back moments are relegated to the later part of the movie. The treatment represents a form of respect for the top-grossing horror franchise of all time, though the thirst for more scares would remain unfulfilled long after it ends. 

By honouring its classic horror roots, The Conjuring: Last Rites, well, conjures up a proper enough farewell to Ed and Lorraine, the beating hearts of the franchise, and it’s only because of Wilson and Farmiga’s exceptional performances that make it easier to disregard the gaping holes in the narrative fabric. Take the pair out of the picture, and it doesn’t take a lot to understand why their presence will be missed moving forward. For those who can roll with the loose ends, a more enjoyable watch lies in wait. 

Si Jia

Si Jia is a casual geek at heart – or as casual as someone with Sephiroth’s theme on her Spotify playlist can get. A fan of movies, games, and Japanese culture, Si Jia’s greatest weakness is the Steam Summer Sale. Or any Steam sale, really.