While a polished push-button scare affair well-marshalled by director Michael Chaves, who has series form with The Nun II, The Conjuring: The Devil Made Me Do It and the near relative The Curse Of La Llorona, The Conjuring: Last Rites doesn’t break any new ground in the demonic possession or poltergeist arena.
Beginning in 1964, we witness the young Warrens investigating their very first case concerning a haunted Gothic mirror that causes pregnant Lorraine to give a traumatic birth to their daughter Judy (Mia Tomlinson).
Swiftly moving to five years after events in The Devil Made Me Do It, semi-retired Ed and Lorraine are on the safe university lecture circuit having stepped back from actively pursuing spooky phenomena due to Ed’s heart attack in that third instalment.
After Father Gordon goes to high-ranking Catholic Church officials to plead an exorcism for the media-swamped Smurls, ‘sensitive’ Judy feels drawn to the case for reasons she can’t spell out.
The clear chemistry between Wilson and Farmiga is once more the central anchor for this over-long stale tale of the not-so-unexpected that is smoothly efficient in its handling of the slight fright that still does maintain a consistently enjoyably chill against all the odds. Frankly the soap opera marriage-go-round does a disservice to the thrust of the narrative, diluting the skilful old-school build-up.
View oEmbed on the source websiteIt’s Chaves’s assertive visual command that pushes the tried-and-true theatrics towards the finish line. And what a conclusion because the Conjuring fan collective will greatly appreciate the respect Last Rites shows to its heritage in the rather moving epilogue reuniting franchise cast members, plus a cheeky cameo from producer/writer/director James Wan himself as the credits roll over archive footage and home movies of the real Warren family going about their much maligned daily business.
It has been a case of diminishing returns regarding the nine-movie nerve-jangling blockbuster juggernaut and while Last Rites hardly matches the pioneering nightmare spirit of the original film, it churns the cliché chills with a pleasing confidence.
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