At the heart of this latest film lies a familiar question: who—or what—is the evil that continues to pursue the Warrens? Earlier entries teased a hidden hand behind Annabelle and The Nun, but ultimately the lore hinges on one figure: Valak.
This demon represents the corruption of faith and innocence. Taking the form of a nun, it mocks the very religion meant to defeat it. Its existence is tied to a ritual, a device that gives it rules and limits the heroes must uncover. Valak’s shape-shifting lets it exploit the fears of anyone who crosses its path. It taunts Lorraine (Vera Farmiga), though curiously does nothing during her labour—when her stillborn child might have been most vulnerable.
In The Conjuring Last Rites, a mirror becomes the central menace, though no such object existed in the real Smurl case. The family reported disturbing noises, physical attacks, and nights without rest, and their ordeal quickly became the talk of the neighbourhood. It took a friend’s urging before the Warrens finally investigated. By that point, they seemed more preoccupied with shielding their daughter, Judy (Mia Tomlinson) from the paranormal world they had built than with uncovering the truth of the case.
Even so, the film thrusts this young Warren into the spotlight. In reality, she avoided the paranormal, living mostly with her grandparents while her parents travelled. She never took part in the Smurl investigation, nor did she possess psychic gifts. Yet in the movie, her arc is tied to the Smurl haunting through a romance that will take her away from it all for good. But when Tony (Ben Hardy) wants to understand the world his future wife must inherit. While this subplot adds some weight to showing she isn’t alone, the ideas presented aren’t enough. It’s too weakly developed.
The split focus leaves us with two competing stories: one about Tony seeking Ed’s approval to propose, and another about the haunted family. The latter is underdeveloped and lacks the gravitas needed to invest in their suffering.
The result feels more Poltergeist than Conjuring, especially with the familiar layout of the Smurl home. I half expected Judy to scream “Whyyy?” into a collapsing house, burying her parents in rubble. That moment never comes—though it might have been a more fitting finale.
Instead, what we get is a tribute reel to earlier instalments, filled with callbacks, recycled scares, and Easter-egg nods. From The Crooked Man to Bill Wilkins and Annabelle, the roll call of past terrors made me wonder: where was Valak? On vacation?
Continuity issues only add to the frustration. Previous films showed Ed carefully locking cursed objects in a fortified room, yet here relics are scattered around the house as though containment no longer matters. The climax, while serviceable, doesn’t erase the sense that this franchise has become a carnival funhouse. The only real stakes are Judy’s sanity, and even those feel manufactured.
If Last Rites was intended as a finale, it plays more like a greatest-hits package. The Conjuring Universe isn’t dead, but to stay relevant on TV, it desperately needs a fresh direction.
3 Stars out of 5
The Conjuring Last Rites Trailer
