With The Conjuring: Last Rites, director Michael Chaves takes the helm of the ninth entry in the long-running Conjuring Universe, returning audiences to the chilling blend of supernatural horror, intimate family drama, and faith-driven resilience that made the original films a cultural phenomenon. Written by Ian Goldberg, Richard Naing, and David Leslie Johnson-McGoldrick, this installment mines inspiration from the infamous Smurl haunting while continuing to trace the personal and spiritual journey of Ed and Lorraine Warren. Featuring Patrick Wilson and Vera Farmiga reprising their now-iconic roles, alongside Mia Tomlinson and Ben Hardy, Last Rites aims to close a chapter on the Warrens’ saga, while simultaneously expanding the series’ emotional core.
The result is a strong, if not flawless, entry in the franchise—a film that feels at once haunted and heartfelt. It’s an effective supernatural horror outing that leans heavily on atmosphere, its central performances, and an ambitious effort to intertwine familial stakes with cosmic terror.

A Franchise Anchored by Faith and Family:
One of the defining qualities of the Conjuring films has always been the Warrens’ humanity. Rather than casting them merely as demonologists or ghost hunters, the franchise treats Ed and Lorraine as complex individuals—partners in love and faith whose bond is tested by forces that seem almost insurmountable. Last Rites builds on this legacy by pulling the Warrens’ daughter Judy (played with conviction by Mia Tomlinson) into the supernatural spotlight.
The film’s narrative threads the Smurl family haunting with Judy’s evolving psychic abilities, offering a multi-generational perspective on how evil tests the strength of family ties. It’s an inspired narrative choice that deepens the mythos: the Warrens’ fight is no longer only their own, but also their daughter’s, raising the personal stakes and suggesting that the consequences of their life’s work ripple outward into future generations.
What sets Last Rites apart from its predecessors is its dual focus. It’s not just about the Smurls’ descent into terror, but also about the Warrens reconciling with the responsibilities of faith, parenthood, and the legacy they’re passing down. Thematically, it’s the most reflective Conjuring film yet.
Strong Atmosphere, Uneven Pacing:
Michael Chaves has been something of a divisive figure in the franchise. After The Curse of La Llorona and The Conjuring: The Devil Made Me Do It, fans have debated whether he captures the same gothic craftsmanship that James Wan infused into the early installments. With Last Rites, Chaves makes his strongest case yet as a worthy inheritor of the series.
His direction leans heavily on atmosphere: creaking floors, claustrophobic framing, and lingering shots of mirrors and shadows that steadily build unease. Chaves demonstrates patience in allowing dread to accumulate, making the supernatural feel invasive rather than explosive. The scares are more psychological than cheap this time, and that restraint largely pays off.
However, the film isn’t immune to pacing issues. At nearly two hours, the first act feels stretched, with an extended setup that risks sapping momentum before the real terror kicks in. While this slow-burn approach allows the Smurl family to be fleshed out with unusual depth for a horror film, it occasionally comes at the expense of tension. When the supernatural mayhem does arrive, though, it’s tightly staged and impressively intense.
Performances That Ground the Horror:
As always, Patrick Wilson and Vera Farmiga are the franchise’s greatest assets. Their portrayals of Ed and Lorraine Warren remain as magnetic as ever, balancing steely determination with deep vulnerability. Farmiga, in particular, conveys Lorraine’s psychic torment with a fragile grace that elevates even the more predictable moments. Wilson’s Ed is rugged, paternal, and unflinchingly devoted, making their scenes together pulse with sincerity.
The introduction of Mia Tomlinson as Judy is one of the film’s strongest elements. She avoids playing Judy as a passive character; instead, she channels a mix of curiosity, terror, and quiet courage. Her chemistry with Ben Hardy’s Tony Spera brings warmth and levity into a story otherwise steeped in darkness, while Hardy himself imbues Tony with earnestness that avoids veering into blandness.
Rebecca Calder, as Janet Smurl, delivers a particularly affecting performance. She grounds the haunting in human terms, portraying Janet as a mother pushed to her limits but unwilling to surrender. The Smurl family dynamics—fraught, frightened, but ultimately resilient—make them more than just victims; they become fully realized participants in the larger spiritual battle.
Mirrors, Shadows, and Spiritual Warfare:
The central motif of mirrors gives Last Rites a unique visual and thematic identity. Mirrors have long been cinematic shorthand for portals or reflections of hidden truths, and here they become a terrifying symbol of intrusion. The way Chaves and cinematographer Eli Born use reflections, distorted angles, and sudden reversals lends the film a constant sense of instability—audiences are never quite sure what is real.
Practical effects and restrained CGI combine to deliver moments of chilling unease. The film resists the temptation to rely too heavily on grotesque imagery, instead building its scares from implication and suggestion. When violence does occur, it feels shocking precisely because it punctuates a long stretch of psychological buildup.
Equally important is the film’s emphasis on spiritual warfare. Prayers, rituals, and invocations of faith aren’t just window dressing; they are central to the narrative and the climax. This not only aligns with the Warrens’ real-life ethos but also reinforces the idea that horror here is not just a battle against demons, but against despair itself.
A Reverent Yet Familiar Structure:
While Last Rites succeeds on many fronts, it does tread familiar ground. The franchise’s formula—family in peril, escalating hauntings, reluctant but inevitable Warren intervention, climactic spiritual confrontation—remains intact. For longtime fans, this will feel reassuring, but for others, it may risk predictability.
Where the film distinguishes itself is in its sense of closure. Without giving away spoilers, Last Rites clearly positions itself as a thematic conclusion to the Warrens’ cinematic journey. The film is less about expanding the Conjuring Universe with spinoff potential and more about honoring the central characters who carried it. For a franchise often accused of chasing profit over artistry, this shift feels refreshingly sincere.
Overall:
The Conjuring: Last Rites is not a flawless film, but it is a resonant and atmospheric one. It may stumble in pacing and occasionally feel formulaic, but its emotional depth, central performances, and commitment to faith and family as core themes make it a standout late-series entry. Patrick Wilson and Vera Farmiga continue to anchor the franchise with gravitas, while Mia Tomlinson and Ben Hardy breathe new life into its future.
As both a chilling haunted-house tale and a meditation on love, legacy, and the endurance of faith, Last Rites succeeds more often than it falters. For longtime fans, it offers both scares and sentiment in equal measure, making it a fitting tribute to the Warrens’ cinematic journey.

Acting

Cinematography/Visual Effects

Plot/Screenplay

Setting/Theme

Watchability

Rewatchability

Summary: As both a chilling haunted-house tale and a meditation on love, legacy, and the endurance of faith, Last Rites succeeds more often than it falters. For longtime fans, it offers both scares and sentiment in equal measure, making it a fitting tribute to the Warrens’ cinematic journey.

3.8

Satisfying Conclusion