A FAMILIAR, BUT FITTING
FAREWELL FOR THE WARRENS
Back in 2013, the scares of the paranormal world were in full swing with the release of The Conjuring. Directed by James Wan, the film starred Patrick Wilson and Vera Farmiga and followed the real-life paranormal investigators, husband-and-wife duo Ed and Lorraine Warren, as they came to the aid of a family experiencing increasingly disturbing supernatural events in their Rhode Island farmhouse in 1971. The movie was praised by both fans and critics alike, going on to earn nearly $320 million at the box office against its modest $20 million production budget. From there, a franchise was born. The Conjuring expanded into a full-fledged horror universe populated by villainous possessions and ghoulish entities first introduced in the mainline entries. The series continued with The Conjuring 2 in 2016 and The Conjuring: The Devil Made Me Do It in 2021, alongside several spin-off features, including the Annabelle trilogy (2014–2019), The Nun (2018), The Curse of La Llorona (2019), and The Nun II (2023). Now, with the franchise continuing to grow, Warner Bros. and director Michael Chaves return to the Conjuring universe for the final chapter in Ed and Lorraine Warren’s paranormal investigations with The Conjuring: Last Rites. Does this fourth main entry deliver one last chilling cinematic tale, or does it struggle to find its footing among its predecessors?
THE STORY
Set in 1986, The Conjuring: Last Rites centers on the Smurl family of Pennsylvania, who begin experiencing unsettling paranormal disturbances after teenage daughter Heather (Kila Lord Cassidy) receives an antique mirror as a confirmation gift. Her parents, Jack (Elliot Cowan) and Janet (Rebecca Calder), quickly sense that something is deeply wrong within their home, as the activity escalates and their daughter appears to form a connection with a malevolent presence tied to the object. Elsewhere, Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) have stepped away from the dangers of the supernatural, allowing Ed time to recover from a recent heart attack. They are joined by their daughter Judy (Mia Tomlinson), who is newly engaged to police officer Tony (Ben Hardy) and preparing to begin a life of her own. However, Judy continues to struggle with troubling clairvoyant visions inherited from her mother, experiencing disturbing episodes she cannot fully control. When word of the Smurls’ ordeal reaches the Warrens, the family is drawn back into the world they hoped to leave behind. As Ed and Lorraine investigate the demonic force bound to the mirror, they come to realize that this case may be their final one. The haunting soon intertwines Judy’s abilities with the dark presence itself, pulling the Warrens into a deeply personal confrontation that brings their lifelong battle with the supernatural closer to home than ever before.
THE GOOD / THE BAD
Much like I’ve mentioned in previous horror reviews, I’m not the biggest fan of the genre. That’s not to say horror films are bad by any means, they just typically are not my particular cup of tea. That said, there have been a handful of horror movies over the years that have genuinely surprised me and won me over, and one of the strongest examples of that is The Conjuring universe.
While I thought the original The Conjuring was solid, The Conjuring 2 remains my personal favorite entry in the franchise. The introduction of Valak as the primary antagonist was incredibly effective, and the possession of Janet Hodgson made for a chilling and engaging cinematic experience. The film delivered genuine tension, memorable scares, and an atmosphere that lingered long after the credits rolled. The haunting imagery of the Nun, particularly the infamous painting, remains one of the most unsettling visuals in the entire series. My appreciation for The Conjuring 2 also carried over into the spin-off films The Nun and The Nun II. While neither film was especially terrifying, both leaned heavily into strong atmosphere and gothic horror aesthetics, aided by the continued presence of Valak as a nightmarish force. Those elements helped make them more enjoyable than I initially expected. As for The Conjuring: The Devil Made Me Do It, I did enjoy it, though it stands as my least favorite of the mainline entries centered on the Warrens. It was a competent, back-to-basics installment for the franchise, but it lacked the impact and intensity of the first two films.
The remaining spin-offs, particularly the Annabelle films and The Curse of La Llorona, were serviceable but uneven. While they featured some interesting ideas, they never reached the same level of quality or consistency as the core Conjuring films that prominently feature Ed and Lorraine Warren. Much of that strength can likely be attributed to James Wan’s direction, as his two Conjuring entries still stand as the most effective and cohesive installments within the entire franchise.
This brings me back to The Conjuring: Last Rites, the fourth film in the mainline franchise and the purported final installment to feature Ed and Lorraine Warren as its central figures. Given the consistent success of the core Conjuring entries, which have largely stood as the strongest films in the series, it felt almost inevitable that another chapter would eventually materialize. After some time, it was officially announced that a fourth Conjuring film had been greenlit, with Patrick Wilson and Vera Farmiga returning to reprise their iconic roles. It was also revealed that this installment would serve as the Warrens’ final case, or at the very least, the last time their paranormal investigations would take center stage. With that in mind, my curiosity was naturally piqued. As trailers and promotional materials began to surface online and in theaters, the film looked quite promising, building a sense of anticipation for how this supposed final chapter would unfold. I had every intention of seeing the movie on its opening day, September 5, 2025, and while I did catch it during its opening weekend, the review itself ended up delayed as I fell behind on a few non-movie writing projects. This one simply slipped through the cracks for a bit.
Now, with some free time on my hands, I’m finally ready to share my thoughts. So, what did I think of The Conjuring: Last Rites? I actually liked it. While certain aspects and execution choices hold the film back in places, it ultimately stands as another solid entry in the mainline Conjuring series. It may not be the strongest installment in the franchise, but it delivers a personal and fitting conclusion to Ed and Lorraine Warren’s story, and it easily rises above many of the spin-off efforts that surround it.
The Conjuring: Last Rites is directed by Michael Chaves, who previously helmed The Conjuring: The Devil Made Me Do It, as well as several other entries within the franchise, including The Curse of La Llorona and The Nun II. Given that Chaves has now directed multiple films in the Conjuring universe, it feels fitting that he would return to helm what is positioned as the Warrens’ final chapter, making him a logical and experienced choice for Last Rites. For the most part, Chaves succeeds in approaching this fourth mainline entry with the same energy and stylistic sensibilities he brought to The Devil Made Me Do It. Much like that film, Last Rites adopts a somewhat “back-to-basics” approach, leaning heavily on the established formula the franchise has refined over time. This is not necessarily a bad thing, as the main Conjuring films have proven that their structure and pacing work well when executed properly, and this installment fits comfortably within that mold. While Chaves does introduce a few new elements into the mix, the film largely embraces the familiar atmosphere, rhythms, and visual language that fans of the series have come to expect. Longtime viewers will likely find plenty to appreciate here.
As with most horror films, the effectiveness of the scares will vary from person to person. For someone like me, who can still get genuinely creeped out by well-staged supernatural moments, many of the film’s sequences landed as intended. The spectral attacks and paranormal occurrences, particularly those centered around the Smurl household, follow the traditional Conjuring playbook. While none of these moments feel especially new or groundbreaking, they are competently staged and effective enough to satisfy viewers looking for modern, atmospheric horror.
Beyond the scares, Last Rites places a noticeable emphasis on finality, framing the narrative as the last case Ed and Lorraine Warren will investigate. Chaves and the screenplay reinforce this theme through Ed’s ongoing health issues, the couple’s growing distance from active investigations, and the increasing skepticism and ridicule they face from the public and media. The inclusion of Judy and her relationship with her fiancé adds another layer to the Warren family dynamic, giving the film a more domestically focused and character-driven angle.
This approach lends Last Rites a sense of maturity, presenting slightly older versions of these characters as they prepare for the next chapter of their lives, whatever that may be. While this direction can occasionally feel like a double-edged sword, an issue I’ll touch on later, it ultimately adds texture and emotional weight to the story. It also subtly suggests a passing of the torch, positioning the next generation while providing a thoughtful, if imperfect, farewell to the Warrens’ role at the heart of the franchise.
From a presentation standpoint, The Conjuring: Last Rites is a consistently solid feature that leans heavily into its visual aesthetics and atmospheric horror nuances. The film’s settings and environments are well realized and grounded, despite the ghoulish supernatural events that creep into nearly every corner of the story. There is a strong sense of believability to the film’s world, with its mid-1980s setting feeling organic and lived-in rather than relying on flashy pop-culture signifiers commonly associated with the era, such as exaggerated fashion, needle-drop nostalgia, or overt references. This restraint helps the film feel natural and immersive, which I appreciated. Much of that success can be credited to the behind-the-scenes craftsmanship, including the work of production designer John Frankish, set decorators Cathy Fearstone and Heather Varley, costume designer Graham Churchyard, and the makeup and art direction teams. Together, their efforts create a cohesive visual identity that reinforces the film’s grounded tone while subtly supporting its supernatural elements.
Cinematographer Eli Born also delivers strong work throughout the film, effectively using lighting, framing, and camera movement to heighten tension during key horror sequences. His visual approach enhances the more dramatic and suspenseful moments without becoming overly flashy or distracting. While the visual effects do not break new ground, they are competently executed and serve the story well, particularly during the film’s more overt supernatural manifestations. Rounding out the presentation is Benjamin Wallfisch’s musical score, which proves to be another highlight. The music hits the appropriate emotional and tonal beats, effectively underscoring moments of dread, suspense, and dramatic intensity. Wallfisch’s compositions help elevate the film’s horror atmosphere, reinforcing its scares without overwhelming the scenes themselves.
Unfortunately, The Conjuring: Last Rites is not without its shortcomings. While these issues do not derail the film outright, they do prevent it from standing among the very best entries in the franchise. The most noticeable problem lies in the film’s uneven narrative balance. There is a clear story being told, particularly in how the Smurl family’s ordeal eventually intersects with the Warrens’ final case. However, the script often meanders in how it juggles these parallel storylines, occasionally losing momentum along the way. The direction of the story is generally apparent, but it becomes sidetracked more often than it should. A tighter, more focused script could have helped streamline these threads and bring greater cohesion to the overall narrative.
Additionally, while the increased emphasis on the Warren family’s domestic life is thematically appropriate given the film’s sense of finality, it consumes a significant amount of screen time. As a result, the film pulls focus away from the demonic and paranormal elements that many viewers expect and look forward to in a Conjuring installment. This shift is not a deal-breaker, but it does soften the film’s horror edge compared to earlier entries. The Warrens themselves also do not fully integrate into the Smurl family’s storyline until relatively late in the film, leaving the two narrative threads largely separate for much of the first half.
These pacing issues are further compounded by the film’s extended runtime. At approximately 135 minutes, Last Rites stands as the longest entry in the franchise. While The Conjuring 2 benefited from a similar length, this film does not use its runtime as effectively and begins to feel bloated in spots. Several sequences unfold at a sluggish pace, only for the climax to arrive somewhat abruptly. The result is a finale that feels rushed, as though material was trimmed or rearranged late in the editing process. This creates a slight sense of disjointedness as the film transitions from its second act into its concluding moments.
The cast of The Conjuring: Last Rites is solid across the board, with the performers delivering strong work throughout the film. While a few characters are somewhat limited by the script, the actors involved still manage to elevate their roles through sheer screen presence and commitment. Much like previous Conjuring installments, the performances help anchor the film, even when the narrative occasionally falters.
Unsurprisingly, the strongest performances come from franchise leads actor Patrick Wilson and actress Vera Farmiga, who return as Ed and Lorraine Warren. Both acting talents have long proven themselves as gifted character performers, and their continued involvement remains one of the franchise’s greatest strengths. Their chemistry as a married couple and paranormal investigative team feels as natural and engaging as ever, allowing them to effortlessly slip back into their roles. In Last Rites, Wilson, known for his roles in Aquaman, Watchmen, and The Phantom of the Opera, and Farmiga, known for her roles in The Departure, Up in the Air, and Bates Motel, bring added layers to their performances, incorporating themes of aging, frustration, health concerns, and emotional strain as the Warrens confront what is framed as their final case.
The film places considerable emphasis on the idea of closure, particularly through the Warrens’ domestic struggles and the increasing proximity of the supernatural threat to their family. These elements make the film’s final confrontations feel more personal and emotionally charged. While Ed and Lorraine occasionally feel sidelined in favor of the Smurl family’s storyline, especially during portions of the first and second acts, Wilson and Farmiga still leave a strong impression whenever they are on screen. If this truly marks their final chapter, Last Rites provides a respectful and emotionally resonant send-off for both characters.
As a brief side note, actor Orion Smith (On the Run and 20/20) and actress Madison Lawlor (Casa Grande and Green and Gold) are effective as the younger versions of Ed and Lorraine, delivering performances that convincingly echo the mannerisms and dynamic of their older counterparts. Both actors feel well cast, and it would not be surprising to see them return in future spin-off projects that explore the Warrens’ earlier years.
The film also places a greater spotlight on Judy Warren, the daughter of Ed and Lorraine and who is now portrayed by Mia Tomlinson (The Lost Pirate Kingdom and The Beast Must Die). As the third actress to take on the role, following Sterling Jerins and McKenna Grace, Tomlinson handles the part with confidence. The script gives Judy far more narrative importance than in previous entries, positioning her alongside her parents as a central figure in the story. Tomlinson portrays Judy as a young woman eager to begin her own life while grappling with the lingering trauma and inherited abilities tied to her family’s paranormal legacy. Her expanded role adds depth to the film and helps establish a potential bridge between the franchise’s past and future.
Rounding out the core cast is Ben Hardy (X-Men: Apocalypse and Bohemian Rhapsody)as Tony Spera, Judy’s fiancé and a former police officer. Hardy delivers a solid and grounded performance, effectively embodying the outsider perspective as he is gradually exposed to the Warrens’ supernatural world. His presence complements Judy’s arc and reinforces the film’s generational themes, subtly laying the groundwork for what could come next while bringing additional emotional context to Ed and Lorraine’s closing chapter.
Beyond the Warrens core family, the movie focuses on the new family (the Smurls), who become the prime target for the latest demonic haunting for the narrative to focus on. This includes actress Rebecca Calder (House of the Dragon and Memory) as Janet, actor Elliot Cowan (Da Vinci’s Demons and Foundation) as Jack, actress Kila Lord Cassidy (Salvable and The Wonder) as Heather, actress Beau Gadsdon (Rogue One: A Star Wars Story and The Girl in the Spider’s Web) as Dawn, actress Molly Cartwright (Our Tallulah) as Shannon, actress Tilly Walker (Steve and The Forsytes) as Carin, actor Peter Wight (Another Year and Hot Fuzz) as Grandpa Smurl, and actress Kate Fahy (Defiance and The House of Elliot) as Grandma Smurl. All of these characters make up the family that finds the latest “haunt” of Last Rites’s story, which, while some have more screen time than others, still (collectively) do a good job in their respective roles.
The rest of the cast, including actor Steve Coulter (Oppenheimer and She-Hulk: Attorney at Law) as Father Gordon, actor John Brotherton (Fuller House and Chosen Family) as Brad Hamilton, actor Shannon Kook (The 100 and Degrassi: The Next Generation) as Drew Thomas, actress Paula Lindblom (making her debut in the film) as Victoria Grainger, actress Leigh Jones (Locked Up Abroad and EastEnders) as Abner, and Grace Kemp (97 Minutes and Swede Caroline) as Nellie, make up the remaining characters that are mostly minor supporting players in the story. While their screen time is limited by design, their involvement is still solid by the acting talent that perform the roles respectfully.
FINAL THOUGHTS
When strange and violent occurrences begin to terrorize a family within their own home, paranormal investigators Ed and Lorraine Warren are once again called into action. In The Conjuring: Last Rites, this case proves to be deeply personal and ultimately serves as the final investigation for the iconic husband-and-wife team. Director Michael Chaves returns to the mainline narrative of the franchise, delivering a story centered on the Warrens’ last encounter with spectral forces and demonic possession. While the film does feel somewhat disjointed in its structure and execution, occasionally coming across as lopsided in certain areas, it still manages to succeed more often than not. Much of that success can be credited to Chaves’s direction, the emphasis on the Warren family dynamic, the effective horror set pieces, the solid technical presentation, and a strong cast across the board. Compared to many of the franchise’s spin-off efforts, Last Rites stands firmly as one of the more accomplished entries. Personally, I found the film to be good and entertaining. While some plot elements could have been smoothed out further, it remains a satisfying horror installment within an already well-established franchise. This is especially true given that the film is positioned as the final chapter in Ed and Lorraine Warren’s story. I still consider the first two Conjuring films to be stronger overall, but I did enjoy Last Rites more than The Devil Made Me Do It. As such, this ranks as my third favorite entry in the mainline Conjuring series. My recommendation for this movie would be a solid “recommended” one, particularly for longtime fans of the franchise. While this may mark the end of the Warrens’ story as we know it, there has been discussion about potential prequel entries focusing on younger versions of Ed and Lorraine. Whether or not those ideas come to fruition remains to be seen, but it is certainly an avenue I would be interested in exploring. In the end, The Conjuring: Last Rites serves as a respectable send-off for these beloved characters. It may not be the strongest installment in the franchise’s exploration of paranormal possession and demonic terror, but it still delivers heartfelt moments, effective scares, and a sincere sense of closure for one of horror cinema’s most recognizable investigative duos.
3.9 Out of 5 (Recommended)
The official The Conjuring: Last Rites website link: HERE
Released On: September 5th, 2025
Reviewed On: March 31st, 2026
The Conjuring: Last Rites is 135 minutes long and is rated R for bloody / violent content and terror
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