The Conjuring: Last Rites (2025) - Film Review

      The Conjuring: Last Rites, 2025.

      Directed by Michael Chaves.

      Featuring Vera Farmiga, Patrick Wilson, Mia Tomlinson, Ben Hardy, Rebecca Calder, Elliot Cowan, Shannon Kook, Steve Coulter, Kíla Lord Cassidy, Beau Gadsdon, Tilly Walker, Molly Cartwright, Leigh Jones, John Brotherton, Peter Wight, Kate Fahy, Orion Smith, Madison Lawlor, Tony Spera, and Judy Warren.

      SYNOPSIS:

      Paranormal investigators Ed and Lorraine Warren face one final terrifying case involving mysterious entities they must confront.

      Set in 1986, the film highlights how the general public's interest in the pioneering paranormal investigators, Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga), has faded, shifting toward lighter entertainment, such as a popular Ivan Reitman movie about ghost-catching. This context is significant for director Michael Chaves (who steps in for James Wan) in The Conjuring: Last Rites, particularly as the plot involves a case that ultimately ended their careers.

      This extended universe, which includes the Annabelle and The Nun films—with only one decent entry among the five—has been around for 12 years, covering several generations of characters. However, concluding the franchise feels somewhat abrupt. It seems to acknowledge a defeat, as no one truly figured out how to sustain this universe without the Warrens. The transition from James Wan to Michael Chaves for the third Conjuring installment felt like a low point amid a series of forgettable attempts to exploit the franchise's name.

      The closest analogy would be if most of us unknowingly walked into the next Marvel movie, unaware that it signaled the end of everything. The Conjuring legacy, at least until any potential future sequels, appears to be an initially exciting universe concept that was mishandled, with the Warrens not receiving due recognition as a compelling family with rich “true story” personal drama and unusual cases. The movies often overshot the mark, sacrificing realism and undermining the chilling narratives in the process.

      It is noted in the pre-ending credits that the Warrens faced ridicule during their time in the public eye for their paranormal investigations. While there's admirable craftsmanship in the spooky scenes, the films seem overly cautious about presenting their stories realistically, as if fearing similar ridicule. Michael Chaves, in particular, struggles to trust in the inherent fascination of these narratives. The Warrens reportedly investigated thousands of paranormal cases and have a room filled with cursed objects, yet reducing their story to four movies feels like a significant mismanagement. Warner Bros. is concluding the Warrens' story, and despite the first two strong films (which still hold some of my concerns), it raises questions about how well we truly got to know them.

      When the premise arises that the Warrens are viewed as less relevant in certain circles, referencing cultural icons like Ghostbusters and the evolution of the times (with even The Exorcist starting to seem dated compared to the slasher genre), it is somewhat disappointing that the film redirects to yet another case, failing once more to adequately portray these real individuals within the larger context of their world.

      On the positive side, Michael Chaves (utilizing a screenplay by Ian B. Goldberg, Richard Naing, and David Leslie Johnson-McGoldrick) demonstrates an understanding of James Wan's style—be it through camera movements or deceptive interactions, such as a mother mistaking her twin daughters pulling on a phone cord for something lurking in the darkness (evoking the hide-and-seek scene from the first film). The film also features multiple instances of suicide hangings, hallucinations, and terrifying encounters with demons.

      Now, with heightened anxiety, Ed and Lorraine are no longer actively helping frightened families, typically contacted through the church and their friend Fr. Gordon (Steve Coulter). Some of the most impactful moments arise from observing this family, particularly their dynamic with their now-adult daughter Judy (Mia Tomlinson), who shares her mother’s clairvoyant abilities. Guided from a young age on how to block out these visions, Judy now wishes to include her former police officer boyfriend, Tony (Ben Hardy), in her life more, even at Ed's birthday celebration. While Tony remains unaware of Judy's full powers, he also doesn't dismiss her as crazy—a welcome departure from typical horror tropes. Their sincere connection provides genuine emotional weight.

      Simultaneously, a family in Pittsburgh is tormented by several demons, using an antique mirror (featuring unsettling baby faces) as a conduit. This unique cursed object contrasts with others often seen, generating a climactic battle against the possessed that is both inventive and somewhat ridiculous. Individual reactions to its over-the-top nature may vary, yet the creativity warrants praise. However, the film’s focus on advancing the plot and delivering scares makes it challenging to understand the characters beyond their roles