‘The Conjuring: Last Rites’ REVIEW: To the friends (and demons) we made along the way
‘The Conjuring: Last Rites’ REVIEW: To the friends (and demons) we made along the way
Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) in The Conjuring: Last Rites | Photo courtesy of Warner Bros. Pictures
I recall seeing The Conjuring in the cinema back in 2013 — the first horror film I ever watched on the big screen. I went with my dad, and I remember how, after seeing it, I couldn’t sleep properly for a few days. James Wan crafted a horror masterclass, building scares through carefully constructed moments, telling the story visually with subtle clues, and using the camera itself to heighten the terror. It marked the dawn of a new age in horror during the early to mid-2010s. Right at the rise of so-called “elevated horror,” Warner Bros.’ The Conjuring films and their expanded universe brought jumpscare-driven and straightforward horror into the mainstream blockbuster arena.
Even with The Conjuring 2, which introduced Valak (and, unfortunately, The Nun films), Wan was still steering the ship, building a cinematic universe that began to take on a life of its own in modern horror. The Conjuring: The Devil Made Me Do It, which was released during the pandemic and is now directed by Michael Chaves, was at best forgettable and lackluster.
Over time, the franchise turned into a cash-grab machine, capitalizing on audience demand but at the cost of producing mid-to-bad entries. Enter The Conjuring: Last Rites. Marketed as “the case that ended it all,” the film is, fortunately, a close return to form. It doesn’t quite reach the level of the first two films directed by James Wan, but it still reminds us why people flock to theaters to experience a Warren case come to life.
The Smurl family in The Conjuring: Last Rites | Photo courtesy of Warner Bros. Pictures
Following the Smurl haunting, based on the Warrens’ real-life investigation in Pennsylvania in 1986, I liked how the film brought back camera work and visuals that made the scares feel like part of the experience. What made Wan’s earlier films stand out was his careful buildup of tension, knowing exactly when to pull the trigger on the scares. Those moments of uncertainty, when you are not sure if a jump scare is coming or when the demon will finally appear, add to the collective fright when watching with friends and family. Some false scares even create the feeling of being tricked by the camera. These little visual cues make the experience even better, especially if you are paying close attention to the environment for clues and possible hints.
With the Smurl haunting in the backdrop, the story ties directly back to the Warrens, even as far as flashbacks to their younger days. Though at times it feels a bit far-fetched and overly convenient, yet sometimes seems like the only path to take. The adult version of Judy Warren, played by Mia Tomlinson, now steps into the spotlight, which feels like a gradual evolution from when we’ve seen her younger years in the previous entries. I jokingly think about how the films barely included her, as if she were always cast aside whenever her parents were on a case.
Lorraine and Judy Warren (Mia Tomlinson) in The Conjuring: Last Rites | Photo courtesy of Warner Bros. Pictures
Adding Judy into the mix creates a new dynamic we haven’t seen in these films, while also shining more light on Ed and Lorraine, who are in the final stretch of their careers. Patrick Wilson and Vera Farmiga once again carry the roles with ease. Their palpable chemistry has always been an indicator that they were born to play these characters. They balance the terror of the supernatural with quieter, dramatic moments. Judy growing up and falling in love adds a bittersweet tone. Introducing Judy’s boyfriend, played by Tony Spera, works well and does not feel like a forced addition.
Ed comforting Lorraine in The Conjuring: Last Rites | Photo courtesy of Warner Bros. Pictures
The story itself is not terrible, but it could have used more time to cook in the oven. The Smurl family, however, sometimes gets pushed aside in favor of the Warrens, which makes their arc feel undercooked. The film struggles at times to balance the two groups of characters, and as a result, the emotional weight of the haunting does not always land as strongly as it should. Still, going back to a traditional haunted house setup works far better than the third film’s attempt to steer away from that formula. The hauntings in the Smurl family home made me feel like that “locked-in gamer” meme, and I thought to myself, “we’re so back.” I genuinely feel the filmmakers tried to raise the ante with the scares while also executing them as effectively as possible. Without getting too deep into spoilers, I have to say that adding a camcorder into the mix and revisiting the footage is one of my favorite horror movie devices.
However, some plot points and story decisions, especially those tied to a particular character, feel shoehorned in to create artificial emotional weight. I understand they are aiming for an Endgame level of culmination, trying to make it all feel bigger and more final. But even though these stories are based on real-life investigations, this is still a Hollywood tentpole series that ultimately needs to keep audiences hooked.
Lorraine Warren in The Conjuring: Last Rites | Photo courtesy of Warner Bros. Pictures
Overall, Last Rites delivers as a worthy finale to the main Conjuring films, closing the Warrens’ chapter with a sense of finality and respect. Spin-offs may keep the brand alive, but this feels like the real ending. By tying together the series’ core themes of faith, family, and perseverance, while giving Ed and Lorraine their sendoff. I like my horror movies to have scares worth revisiting while also delivering emotional character moments that go beyond the usual frights of the genre.
The Conjuring: Last Rites is now showing in Philippine cinemas.
