Review of 'The Conjuring: Last Rites': Put a tombst

This fourth movie “The Conjuring” claims to be “last rites” and hopefully it is a promise.

While it is very likely that the film universe of conjuration in itself will continue, either through a terrifying nun, a creepy doll or some other damn object, the story of Ed and Lorraine Warren has dried completely at this point and there is no juice to press, as demonstrated in the singing that is this final film.

Credit where it is owed: the horror franchise has become spectacular and entertaining entries, anchored by performances by Patrick Wilson and Vera Farmiga as the married paranormal researchers The Warrens, based on an infamous real -life couple. Thanks to their presence, these films have been the best of the conjuring series, exploring issues of faith and seeing that he believes when it comes to God and the devil. These films have also offered representations of the Warrens who avoid any of their personal controversies, presenting them as heroic and wonderfully married figures. The screen on the screen could indicate that they were polarizing figures, but the films themselves never get involved with the scandals.

The first two films, directed by James Wan, ingeniously committed to many variations in the idea of ​​vision: physical, psychic and through the lens of a camera. Bravura's cinematography aligned the public's point of view with the terrible dreams of another world of Lorraine of ghosts, possessions and demonic presence. Michael Chaves, who directed the spin -off “The Nun II” and “The Conjuring: the devil made me do it,” said these requirements mainly, although his approach is more rimbastic than Wan's elegant style.

Chaves is once again behind the camera for “The Conjuring: Last Rites”, with a script by Ian B. Goldberg, Richard Naing and David Leslie Johnson-McGoldrick that promises to deliver a final Warren case that devastated the family and ended their careers with a dark note. Instead, “Last Rites” is simply a farewell to slow routine for the Warren family.

If you have seen a “conjuration” movie, you will know what to expect and the “last rites” do not break with the formula. While the film begins in 1964 with the heartbreaking birth of the beloved daughter of The Warren, Judy, the plot takes place largely in 1986, an Annus Horribilis for the unfortunate Smurl family of West Pittstown, Penn., Attack by an old mirror adorned with three carved baby heads, collected from a meeting. After a series of unfortunate events and increasingly violent visits, a media frenzy surrounds them and the Warrens appear to free the house of creepy traces.

This time is the additional complication of wedding planning: Judy (Mia Tomlinson) is about to marry, but cannot shake those annoying psychic flashes he inherited from his mother. Judy is the one who adventures first to the Smurl home. Then their parents, who hoped to hang their ghost hunting spurs, are unwanted for a last trip. Ghouls, terrifying dolls and demonic possessions are produced.

In “Last Rites”, the thematic metaphor of see is the mirror itself, which suggests that we need to look at the darkest and scary parts of ourselves and not close them. Lorraine has tried to protect her girl from the life she has led, facing the most frightening demons, ghosts and ghosts, but she can't stop Judy's fate and the only exit is not looking elsewhere.

“Last Rites” extends the concept of a new generation by incorporating Judy's fiance, Tony (Ben Hardy), as a new family business member. Its function in history is a bit uncomfortable and random, but required for Warren's plot to end with a high note (that opening of family devastation never seems to pass).

The heart of these films has always been Wilson and Farmiga, and without them, “conjuration” films would not be worth it. With this fourth film, Warren's tradition has been chosen so thoroughly, the tropes and rhythms now entrenched that jumping scares end up feeling at best. Mastering the heavy work of “last rites”, it has never been clearer to be time to give up the ghost.

Katie Walsh is a film critique of the Tribune news service.