One final disjointed case of the supernatural.
Every story, even one as sprawling and terrifying as the cinematic tale of Ed and Lorraine Warren, must eventually end. The Conjuring: Last Rites promises to be that grand, final chapter, yet it falls short of providing the gripping, cathartic finale we’ve come to expect. While it offers flashes of the franchise’s signature chills and a continued appreciation for its central duo, the film is ultimately let down by a disjointed narrative that loses its way long before its climax.
A Promising Premise
The film’s premise is brimming with potential. Set in 1986, the story is a cinematic take on the harrowing real-life Smurl family case. Their quiet Pennsylvania life is shattered when eldest daughter Heather receives an antique mirror, unleashing a torrent of malevolent activity. Ceilings collapse, visions torment the family, and at one point, blood is coughed up in a horrifying scene. The early moments are a masterclass in building dread, as director Michael Chaves (who has notably improved since his earlier outings in this universe) meticulously crafts tension. He’s at his best in scenes where unsettling things creep into the mundane, like when a mother’s household chores are interrupted by unseen forces, or in a particularly chilling sequence in a dark basement where shadows become a canvas for terror. The scares, particularly those involving an intense, axe-wielding spirit, are visceral and effective.
Where Are the Warrens?
However, the film’s core problem isn’t what’s on screen, but who’s not. For a surprisingly and frustratingly long period, Ed and Lorraine Warren are sidelined, seemingly unaware of the Smurls’ plight. While the film’s prologue establishes a history between the Warrens and the cursed mirror, it then strands them in their own disconnected subplot. The narrative becomes a frustrating split-screen experience, following the Smurls’ terror and the Warrens’ quiet life back home, a jarring contrast exemplified by Ed playing ping pong to the tune of David Bowie’s “Let’s Dance.”
This dual focus gives the film a schizophrenic feel. The Warrens’ side story revolves around their daughter, Judy, who is now wrestling with the same psychic abilities as her mother. Both Patrick Wilson and Vera Farmiga remain effortlessly charming and engaging as Ed and Lorraine, and their on-screen chemistry is as potent as ever. They are the heart of the franchise, and it’s a genuine pleasure to spend time with their quirky family. Yet, this subplot, while offering some effective moments (including a clever use of mirrors in a fitting room), feels like a pleasant diversion rather than a crucial piece of the puzzle.
A Narrative That Drags
By the time the two storylines finally converge, the initial energy has completely evaporated. The film shifts its focus entirely to the Warrens, relegating the Smurl family—who initially felt like the leads—to the background. This structural flaw makes much of the first act feel like wasted setup, leaving a hollow feeling as the final confrontation unfolds. The film’s hyped “final case” and the ominous portents of a grand finale never truly pay off, as the narrative loses momentum and the resolution feels rushed and unearned.
Verdict
Ultimately, The Conjuring: Last Rites is a disappointing send-off for a beloved cinematic duo. While the scares are still solid and Wilson and Farmiga’s endearing chemistry shines through, the film’s disjointed structure prevents it from reaching its full potential. It’s a finale that promises to be monumental but delivers a conclusion that is merely serviceable, leaving fans with a lingering sense of what could have been.
