Some films genuinely have the power to alter the way we experience cinema. They don’t just entertain us; they change the very nature of a cinema-going experience.
When the first Conjuring film hit screens in 2013, it became a cultural moment precisely because of this. Reports of audience members shouting, screaming and talking throughout the movie dominated the headlines. People were not just watching the film—they were reacting to it in real time. While cinema-goers have historically interacted with films in unpredictable ways, The Conjuring highlighted just how immersive and disruptive mainstream horror could be. It was a film that encouraged engagement, whether respectful or chaotic and in doing so, it reshaped the social experience of going to the movies, and not always in a positive way.
Now, in 2025, the franchise returns with The Conjuring: Last Rites, this time directed by Michael Chaves. The film, written by Ian Goldberg, Richard Naing, and David Leslie Johnson-McGoldrick, takes on the Smurl haunting, a real-life case investigated by the real Ed and Lorraine Warren.
James Wan, co-author and director of the original story, remains a creative presence behind the scenes, while Patrick Wilson and Vera Farmiga reprise their roles as the Warrens. Newcomer Mia Tomlinson stars as the Warrens’ only child, Judy, while Ben Hardy plays her ex-cop boyfriend, Tony.
In terms of production, Last Rites delivers exactly what fans have come to expect from the franchise. The cinematography is sleek, the sound design crisply eerie, and the atmosphere consistently tense. Chaves shows an understanding of pacing, building moments of suspense that are effective—if not revolutionary. Yet, for a genre that has evolved so dramatically over the past decade, the film feels surprisingly conventional. Contemporary horror audiences are now accustomed to films that blend psychological complexity with dread, such as Hereditary, The Witch, Barbarian and more recently, the excellent Weapons. Against this backdrop, Last Rites leans heavily on familiar tropes: jump scares, predictable sequences and supernatural threats that feel a little on the lame side.
This is particularly noticeable when the narrative tries to balance character development with moments of horror. While the Smurl family is portrayed with care, and the Warrens remain compelling anchors, the film struggles to make the terror feel organic or innovative. The scares are often surface-level, designed more to provoke a reflexive reaction than a lingering sense of unease. For a franchise that once redefined audience participation, this feels like a step back—a reminder that mainstream horror can easily plateau if it relies too heavily on the usual formula.
Still, there are moments where Last Rites succeeds. Wilson and Farmiga’s performances are highlights, their seasoned portrayals lending weight to both the horror and the emotional stakes. The film also demonstrates the enduring appeal of the Warrens as central figures to the whole franchise.
In the end, the film illustrates a fascinating tension between legacy and innovation. The Conjuring series was once a trailblazer of the genre, elevating mainstream horror by turning simple scares into shared cinematic experiences. Sure, it’s competent, occasionally tense and features some strong performances, but it lacks the sting of the first one.
