By Millie Hicks, Third Year, Film and English
Well, in some ways, yes. The final instalment of the four-part Conjuring series turns its focus once again onto another family who have become the unwilling target of a demon’s wrath, after taking home an antique mirror and giving it as a gift to one of the children. Whilst this is the surface level focus of the film, it really is a love story dedicated to the late Warrens, and unapologetically so.
Their daughter Judy, played by newcomer Mia Tomlinson, takes centre stage here, as she becomes the target of the demon’s ire, reflecting the core of the movie – family. Whether it’s the Warrens themselves, or the victims of the demonic haunting, the Smurls, family and the love present amongst them is depicted as the greatest power here. Perhaps overly sentimental at times, the Warrens dominate the plot, with the actual spirits taking a back seat, and the more metaphorical ghosts of Ed and Lorraine’s past returning, as they reflect on their daughter’s traumatic birth.
Shifting our attention on to the obvious heart of the film, and in fact, the whole cinematic universe – the performances of our favourite horror parents. Vera Farmiga’s expressiveness as Lorraine is so effective – the terror visible in her eyes and her bloodcurdling scream as she fears for her child’s life is bone chilling. (She really takes on the role of mother here, in two senses of the word). Patrick Wilson plays Ed, the other half of this unwavering partnership, in which the actors bounce off each other so dynamically; this is plain to see through their
portrayal of this unbreakable couple. They display powerful individual performances, but its together that they truly shine, as these powerhouse actors support each other in a manner reflective of their real-life counterparts, serving as a reminder that, first and foremost, this is their story. Though, I would argue that Farmiga pulls the weight slightly more, at least in regard to the supernatural, as she masterfully embodies the role of a woman receiving an onslaught of satanic visions. Meanwhile, whilst his wife literally fights off demons and murderous apparitions, Ed is fighting off high cholesterol and clogged arteries, in a half-hearted attempt to prevent another heart attack, which seems to be his main battle throughout.
Now, let’s address the most important part of a horror film – the scares. They are oftentimes effective, and I frequently found myself creeping further down in my cinema seat trying to avoid the jump scares. Though, this is only when they are allowed time to breathe and suspense is actually built, rather simply using gimmicks or false anticipation. The horror fanatic may be unhappy to hear that some moments teetered on the verge of ridiculous, including a cameo from horror icon Annabelle herself, in which she grows ten times her size and a chase ensues, causing much more of an eye rolling effect than a spine chilling one. Overall, the fright department may be slightly disappointing for those viewers looking to be scared out of their skin, but those who are familiar with the franchise, and stick around simply for Farmiga and Wilson’s impeccable chemistry, will be filling their boots.
The overall run time comes in at two hours and fifteen minutes, which is slightly too long for the lack of major supernatural action until the climax of the film, and time is wasted quite frequently up until this moment, with many scenes having a filler feel to them. The climax itself has its issues, with the sentimentality resurfacing and becoming sickly at times, and even though it was clearly heading this way throughout, I would have liked a more satisfying victory than simply ‘the power of love’ saving the day – sorry, I guess I’m a cynic.
Visually though, the cinematography is striking, with interesting and unique uses of more experimental techniques, in which I think horror often reigns supreme. Michael Chaves employs large, sweeping camera movements, and even a POV shot from the perspective of an apparition, diving through an open door and slamming it behind, preventing any feelings of stagnancy from the small location that we become restricted to.
With all the praise for the performances carrying the spooky saga, and especially Last Rites, it does call to question – if you took the Warrens away, what substance would you have left? However, luckily for us, this question is irrelevant, as they are, and have always been, the stars of the show. So, whilst they may carry the franchise on their backs, they’re clearly shouldering the weight.
Overall, would I rather they went out with more of a bang? – Sure. But after their long contribution to the horror world, I think that the curtains close on the Warrens in a gentle manner (as gentle as horror can be) that is respectful of the late couple. So, whilst it may not have been a groundbreaking new horror feature, in terms of Ed and Lorraine’s love story, I think they received a fitting and heartfelt send off.
Featured Image: IMDb
What did you think of the conclusion to The Conjuring series?
