Skip to main content

The Family That Fights Ghosts Together..

The Conjuring: Last Rites is the fourth instalment in the blockbuster horror franchise and picks up five years after the previous entry, with Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) now retired from the paranormal investigation game. When a spooky mirror from their past remerges, they, along with now adult daughter Judy (Mia Tomlinson),  find they may have no choice but to get their ghost busting on one last time. 

So, the main problem with The Conjuring movies, has always been the "based on a true story" aspect of their presentation. Sure, Ed and Lorraine were indeed really people and they did in fact investigate claims of paranormal activity. Unlike their film counterparts however, they are well known to have been a couple of frauds. To begin with, this wasn't much of an issue, as horror films loosely (read: not really at all) based on true stories are common, but as the franchise progresses, and the Warrens are painted as more and more heroic, it becomes increasingly hard to stomach. Here, we are in full myth maker mode, with the central duo portrayed as not only demon vanquishing heroes, but heroes who did so against a backdrop of sceptical meanies who didn't believe them. Humanising performances from Wilson and Farmiga make the duo easy to get on board with but the decision to constantly batter the viewer over the head with "this really happened" nonsense is galling, particularly in the current climate of fact denial.  

The other issue Last Rites has is franchise bloat. While horror sequels used to be about quickly cranking out cost effective follow ups, modern franchises subscribe to the mantra "more is more".  The filler here comes in the form of a mini domestic drama as the Warrens welcome Judy's partner Tony (Ben Hardy) to the family. In addition to filling runtime, this appears to be an attempt to set up a new generation of spectre chasers so that the franchise can continue without its lead pair of actors. So much time is dedicated to this that for the majority of the running, Last Rites is essentially two movies. The characters we know have their family life while a new household, the Smuri family, handle the frights as they are menaced by the possessed antique they just brought home. Only in the final portion of the movie do the two come together. 

If you can get past the reality flipping and unnecessary family shenanigans, there is a serviceable entry-level horror underneath. More than serviceable in fact. Director Michael Chaves isn't as good at crafting scares as series originator James Wan, but this is a big step from his previous work (the last Conjuring movie, Nun 2 and La Llorona). It has a mix of solid jump scares and slower, tension building moments that works well. It is very much pulling from an established bag of tricks; creepy dolls, sinister reflections, unseen things lurking in the dark, but it delivers what fans of the series turn up for. Considering the plot involves something from the past coming back to haunt the Warrens, there isn't much thought or time spent on the demon that haunts the mirror but it's difficult to imagine any backstory that would have been worth telling. The fact that the final showdown is literally a physical fight against a flying mirror may just be crazy genius but might be too much (or not enough) for some viewers. 

If you are a Conjuring devotee, or just like big, glossy horror movies, then Last Rites should give you what you are looking for, albeit diluted with plenty of unnecessary fluff. If you watched the previous films and really thought they were missing a Warren home life deep dive, then you are in for a treat.

6 superhero con artists out of 10. 

Comments

Popular posts from this blog

Wasted Men

From Scum to Starred Up, neither the big nor small screen are short of brutally frank depictions of life behind British bars. Wasteman adds a taut, modern take to the pile and shows that life isn't getting any easier inside. Philip Barantini (creator of Boiling Point and Adolescence) is on board as a producer so you know it's going to feel real and the Safdie brothers were at one point attached to direct, so you know it's going to be gut-clenchingly tense. It doesn't disappoint on either front. David Jonsson plays long term convict Taylor. A timid drug addict, he cuts the hair of the top-dog inmates in return for a regular fix and is existing rather than living as the years of his sentence tick by when he gets some unexpected news. Prison overcrowding means he is up for early release, provided he can keep his nose clean for a couple of weeks, something made increasingly tricky by the arrival of his new cellmate Dee (Tom Blyth). Dee encourages Taylor to make contact wit...

More Money More Killing

How to Make a Killing is loosely based on 1949 British crime comedy Kind Hearts and Cornets (which is in turn an adaptation of 1907 novel Israel Rank: The Autobiography of a Criminal). In a world of remakes, reboots and adaptations, that is pretty interesting source material and could almost qualify as an original idea. Unfortunately, the imagination mostly stops there and the film isn't funny or insightful enough to rise above "it's fine" territory. Glenn Powell is Becket Redfellow, a suit salesman who grew up largely in the foster care system as his mother died while he was young. He is heir to the fortune of his mother's estranged family and, in the unlikely event all the other senior Redfellows should perish, he would be a billionaire. A chance encounter with his status obsessed childhood crush Julia (Margaret Qualley) and an unjust demotion at work give him the notion to speed up his inheritance a little. As he arranges "accidents" for his fellow R...

Hell to Pay

  They Will Kill You  begins with a soaking wet Zazie Beetz waiting to start her maid job at swanky apartment building, The Virgil. Her character Asia is a former convict who has no idea her new employers are devil worshipers who sacrifice their staff to Lucifer. The building residents have no idea that Asia is actually there for reasons other than a steady paycheque and is not about to go gently into that good night. The touch paper is soon lit on a relentless blend of slapstick horror action that leaves little room for you to catch your breath across its ninety minute odd runtime. The most obvious comparison here is to 2019's Ready or Not and its sequel (which coincidentally released one week before this film), where an unsuspecting bride is left fighting for her life when her wealthy in-laws opt to make her a human sacrifice. While They Will Kill You shares that movie's comedic spirit we are much deeper into supernatural territory here. The grand old building and seemingly ...

You Screen, I Scream

The worst thing about Scream 7 isn't actually the film itself. It's the at best cowardly, actions of production company Spyglass Media who fired the star of the previous two films, Melissa Barrera, for daring to have an opinion on genocide. In addition to leaving an icky taste in the mouth, this move cost them fellow star Jenna Ortega and the guy who was supposed to direct the seventh instalment Christopher Landon, resulting in a return to the drawing board to completely rework the film. The only actually good thing about Scream 7 is also nothing to do with the actual film. Series mainstay Neve Campbell missed the previous instalment after producers lowballed her, but the production chaos of their own making means they've had to go crawling back. So Neve returns with a reported $7 million payday, a producer credit and a story based solely around how legendary her character Sydney is. Go her. The actual film doesn't warrant much discussion at all, given it does little mo...

Fifty Shades of Chrononberg

 If you've been missing pure  David Chrononberg then Crimes of the Future has you covered. It has the lot; body mutilation, main character undergoing a metamorphosis, questions about what defines being human, integrity of the mind, the collision of different world views and pretty much every other recurring theme of his is present and correct. So needless to say, it isn't for everyone. The film takes place in the (possibly near) future, when most humans have evolved to no longer feel pain and in some cases grow mysterious new organs. Viggo Maortensen and Lea Seydoux play a pair of performance artists whose act revolves around removing Mortensen's excess organs in front of a live crowd. Fittingly, given its focus on artits, the film takes place in the orbit of the protagonists with little shown of the world at large. Everything is dingy and grimey, hinting things aren't going swimmingly, and there are vaugue hints at ecological disaster but the characters are all far mor...

There Can Only be One

Trailers for Him had Jordan Peele's name slapped all over them, which is understandable from a marketing point of view. In reality it is simply produced by the"Get Out" directors company, Monkeypaw Productions. It is actually directed by Justin Tipping, from a script he co-wrote with Skip Bronkie and Zak Akers. The prevalence of Peele's name in the advertising means the film is bound to draw unflattering comparisons with his own work, which is a shame as the film has its own merits. Cameron "Cam" Cade (Tyriq Withers) grew up idolising Isaiah White (Marlon Wayans), star quarterback of the San Antonio Saviours. When White suffers a grisly injury during the Super Bowl, Cade's father tells the young fan that real men like his idol make sacrifices for greatness. Fast forward about a decade and a half and Cam is about to be drafted to the NFL, where he is tipped as a potential challenger to White's "Greatest Of All Time" status. When a mascot in ...

Gimme Shelter

  The start of another year means it's time for the annual "Jason Statham is a retired killing machine trying to live a quiet life but being forced to start stacking obituaries" movie. The typically nondescript title of this year's offering is Shelter and Stath's former special forces badass is called Michael Mason. When the British government agency that he used to drop bodies for comes calling at his remote Scottish lighthouse he is forced to take action, something that is complicated by the presence of a young orphan girl named Jessie (Bodhi Rae Breathnach). While our protagonist and his reluctant charge tear across the countryside, Naomi Ackie (criminally underused here) and Bill Nighy (putting in just enough effort to get by) scheme against each other at Spy HQ.  Jason Statham movies can essentially be judged on three criteria; Does he get to do cool action? Are the bad guys formidable enough? Is the plot and dialogue entertainingly cheesy rather than just e...

No Plane No Gain

 In many ways Plane is the most generic action movie you could imagine. A former military man who is now a civilian pilot (played, of course, by Gerard Butler) crashes on a rebel malitia held island and must rescue his passangers from the local warlord. Some aspects are a somewhat different to the norm however, making the film a little different, if not necessarily better, than the premise suggests. Firstly, the focus really is on the plane and the ability of  Captain Broddie Torrance (classic name for a Butler character) to fly it. This gives the proceedings a disaster movie feel for larges stretches. The titular plane is very much of the plot driving (or flying) variety, able to withstand hails of bullets while being the only airliner not capable of shrugging off a lightning strike.  Butler's Captain Torrence is a little different than you might be expecting also. He isn't an ass kicking kill machine but rather just a very good pilot with a "no man left behind" atti...

It Sure Does

 Love Hurts is Ke Huy Quan's first ever lead role. After decades out the game and struggling to keep his insurance prior to his Oscar winning turn in "Everything Everywhere, All At Once", you can hardly blame him for taking the chance to front a movie. Unfortunately, in Jonathan Eusabio's directorial debut, he has landed in a misfire. Quan plays Marvin Gable, a cheery real estate agent living his best life as he crushes the sales game and keeps everyone in the office (except for his depressed assistant) happy with his home baking. Unbeknownst to his colleagues he used to be a gangland hitman for his mob boss brother "Knuckles" and when the mysterious Rose, who Marvin was supposed to have killed, remerges, big brother dispatches the goons to get some answers from him. Cue high jinks as Marvin battles henchmen kung fu style while trying to keep his current and past lives from colliding. It's a fun idea but nothing quite comes together in the execution. Th...

Nope Place Like Home

 For his third featue Jordan Peele turns his attention to the art of filmaking itself and the explotation of those involved. Its unlikely he will ever blow people away like he did with Get Out again (you can only come out of nowhere once) and whether or not this effort is better than Us is a matter of taste, but he's still managing to flip expectations third time round. The film revolves around brother and sister duo OJ (his infamous real life namesake is mentioned) and Keke. OJ is professional and hardworking, desperate to keep their late fathers business going but lacks the people skills to get ahead. Keke is charismatic and would be the perfect foil to OJ but prefers self promotion to helping a family business she was never really made to feel part of. The business in question is providing horses for filming and the use (or misuse) of animals is a recurring theme, including a genuinely harrowing scene involving a sitcom chimp. Scenes like this confirm Peel's ability to make ...