There may have been a time years ago when you were together with a group of friends trying to find the perfect horror movie to haunt your pre-teen nightmares. Then you see a massive tree with a noose hanging limply from its branches, behind it an abandoned-looking country house. You hit play and begin “The Conjuring.”
Flash-forward to the present, there have been two subsequent “Conjuring” films, five spin-off projects, and the latest installment from the franchise – allegedly the last to hit the box office.
This past weekend I saw “The Conjuring: Last Rites” in theaters, and what immediately struck me was how familiar it all felt.
One might assume the familiarity would stem from the fact that there were three preceding movies with similar plots and styles, but oddly enough, I found myself comparing it to “Avengers: Endgame” far more than anything else. Admittedly, there were no aliens or time travel, but there were several elements that made it feel more akin to a blockbuster film.
The first two “Conjuring” movies had a distinctly gothic style. With muted colors, a consistently eerie tone and unnerving imagery, there was a palpable sense of danger. In the latest film, colors were bright and glossy, the tone varied wildly and it often landed in the territory of a family comedy. The blatant refusal to apply stakes to the family’s haunting stopped the tension in its tracks.
All of these changes aren’t necessarily bad things. Oftentimes, the imagery was striking and the beats of comedy felt earned and established a sense of connection to the characters, but the immense focus on the Warrens’ dynamic detracted heavily from the other family’s storyline. While the original films maintained focus on the affected families, using their personal stories and dynamics to fuel the narrative, “The Last Rites” focused primarily on the Warrens.
This shift of focus clearly indicated the film’s creators assumed the audience was there for Ed and Lorriane and to see their story through to its finish. In reality, the mass appeal of these films has always been the terror of demonic possession.
The film itself seemed aware of this because it spent the entire first act making sure we were truly endeared toward the family. Ed Warren provided comic relief with his main focus being the budding relationship between his daughter Judy and her lover Tony. Lorraine was wrapped up entirely in her relationship with Judy and their shared psychic connection.
All of this eventually culminates in the final battle between the family and the demon, wherein the Warrens band together and, instead of performing an actual exorcism, they seemingly defeat the evil spirit through the power of love. Not only did this feel completely incongruent with the established dynamics of the universe, but it was also a cop-out from seeing through the overly powerful antagonist they had created.
The moment where the three Warrens have a stand-off with a haunted mirror could be any superhero climax. In perhaps the most egregious example of chasing after that “Avengers: Endgame” high, after all the fighting is done, Judy’s wedding takes place. A long shot tracks through the faces in the crowd, lingering on several faces who were, frankly, unrecognizable. It was clearly meant to be a coming together moment of old characters returning to the franchise, but it was impossible to remember who anybody was.
“The Conjuring: Last Rites” fell victim to a unique phenomenon of overestimating its importance due to its status as a franchise film. While it was ultimately enjoyable, it lacked the spirit and craft present in the original movies. If instead of chasing after the standards of a blockbuster hit, they had focused on staying true to their origins, this film might have been a beautiful send-off to an old childhood favorite.
