The Conjuring: Last Rites Review

So, Ed and Lorraine’s final outing in The Conjuring: The Last Rites is here, and I went in with mixed expectations. After the brilliance of The Conjuring 2, The Devil Made Me Do It felt like a letdown. So when this final chapter was announced, I was excited but cautious. Michael Chaves has directed some of the less strong entries in the universe (The Curse of La Llorona, The Conjuring 3, Annabelle Comes Home), so I wasn’t convinced going in.

Now that I’ve seen it, I’d say this film is interesting and sometimes frustrating, but ultimately worth watching. The movie opens in 1964 with Ed and Lorraine investigating an antique mirror at a curios shop. Lorraine touches it while pregnant and collapses, giving birth to their daughter Judy stillborn. The moment with the hand stuck to the ceiling during the stillbirth scene was chilling and effectively built tension. But the demon remains nameless, unexplained, and underdeveloped compared to Valak in The Conjuring 2, who had lore and a tangible presence.

Still, when the film delivers horror, it delivers. The axe-wielding ghost stands out. At first, you just see the axe lying there. Then the figure emerges from the darkness, laughing, walking briskly toward its victims, never stopping. This relentless scene had the whole theater on edge. The priest hanging scene is another standout. The sound design was so powerful that the entire audience went silent. These are the kinds of moments that remind me why I love horror.

The movie balances those scares with cozy family touches. Watching the Warrens at the breakfast table making pancakes, framed by warm lighting in a full house, created a very homely vibe. That intimacy made the jump scares land harder because it felt like you were in their home with them.

The demon’s real target is Judy, and the narrative leans on her trauma with Annabelle. Though Annabelle doesn’t appear, the demon mimics her to terrify Judy, which fits her emotional arc. Alongside the main demon, the Smurl family’s house houses other unsettling spirits: the farmer wielding an axe, his wife, and an old woman. The farmer’s relentless laugh and movements make him especially eerie.

Patrick Wilson and Vera Farmiga once again carry the film. They have always been the heart of the franchise, and their chemistry remains strong. Tiny details like Lorraine’s outfit matching Ed’s tie reinforce their bond beautifully. The film hints at a new generation with Judy and Tony as the next investigators, but I can’t imagine this story without Ed and Lorraine at the center.

A few lines really stuck with me. When the priest says, “You don’t understand. Someone needs me more than my own life. One last time,” it hits hard emotionally. Later, Lorraine remarks, “Our adventures never ended. We were still helping people.” That feels like a heartfelt farewell—almost like a Fast and Furious-style goodbye—but it also leaves the door open for the Warrens’ legacy to continue.

Visually, the film offers surprising flair. There’s an early car chase sequence that felt more like Batman than horror, which was stylish and unexpected. Michael Chaves shows growth here compared to his earlier work. The cinematography uses pitch-black corners, glowing eyes, and sudden silences to create tension. It works about eight times out of ten.

Overall, The Conjuring: The Last Rites is a step up from The Devil Made Me Do It but not on par with James Wan’s early films. If I had to rank:

1. The Conjuring
2. The Conjuring 2
3. The Last Rites
4. The Devil Made Me Do It

This film has cozy family moments, chilling horror set pieces (especially the axe ghost and priest scene), and an emotional send-off for the Warrens. The weak demon writing holds it back, but if you go in with balanced expectations, it’s a solid watch—perfect for the theater experience.

Verdict: Better than the third film, not quite as brilliant as Wan’s originals, but a worthy time spent for the atmosphere, the scares, and the Warrens’ farewell.

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