The venerable “Conjuring” franchise, now nine films deep, faces the perennial question of its heroes' longevity with its latest (and allegedly final) installment,“The Conjuring: Last Rites.” Real-life paranormal investigators Ed and Lorraine Warren, portrayed byPatrick Wilson and Vera Farmiga,initially appear to be stepping away, giving lectures to sparse audiences. However, a compelling send-off awaits the duo who launched a blockbuster universe with “The Conjuring” in 2013.

“Last Rites” delves deeper into the Warrens' personal lives by focusing on their own family, particularly their daughter Judy (Mia Tomlinson), who has inherited clairvoyant abilities from her mother. The narrative draws from the highly publicized Smurls case, a three-generation Pennsylvania family experiencing intense paranormal activity. The film takes creative liberties, connecting the Smurls' haunting to a cursed mirror the Warrens first encountered hours before Judy's traumatic birth in 1964. Decades later, Judy, engaged to ex-cop Tony (Ben Hardy), finds herself overwhelmed by her powers, while Ed, lacking such visions, has built his career on trusting Lorraine's sight.

Photo Credit: Times of India

Critically, “Last Rites” attempts to move past the generic filler of previous entries by concentrating on its marquee characters. While the film has been noted for its familiar finale fan service, some critics find its scares telegraphed and the unease muddled, reducing the characters' vulnerability—a recurring issue in the series. Director Michael Chaves, who helmed the previous mainline entry “The Conjuring: The Devil Made Me Do It” and spinoff “The Nun II,” shows improved form with a few commanding images, though he occasionally overcooks pivotal scares. Despite these narrative pitfalls, Wilson and Farmiga deliver subtly calibrated, genre-iconic performances, portraying an enduring and aspirational marriage.

However, by turning the Warrens into case subjects, the film risks diminishing the series' original power, which often came from their unwavering faith reshaping other families' situations. With the demons increasingly focused on the Warrens themselves, the stakes feel surprisingly small despite a bloated runtime, suggesting the franchise may be past its utility by over-investing in its most reliable creation.

Commercially, “The Conjuring: Last Rites” has been an undeniable triumph, shattering box office expectations and setting new records. It debuted with a sensational $194 million worldwide, making it the biggest global start in history for a horror film, surpassing 2017’s “It” ($190 million). Domestically, it earned $84 million, marking the third-biggest horror opening for Warner Bros. and New Line, while setting a new international horror record with $110 million. With a reported price tag of $55 million, the film is already a significant commercial winner for Warner Bros.

The film's success is a cornerstone of an unprecedented box office streak for Warner Bros. The studio has now achieved seven consecutive releases opening above $40 million, a historic feat unmatched by any other studio. This marks a dramatic rebound from a challenging period in late 2024 and early 2025, which saw commercial disappointments like “Joker: Folie a Deux,” “Mickey 17,” and “The Alto Knights.”

Warner Bros.' turnaround has been fueled by a string of hits including April’s “A Minecraft Movie” ($957 million globally, making it the studio's biggest earner of the year), Ryan Coogler and Michael B. Jordan’s “Sinners” ($48 million debut, $366 million globally), “Final Destination Bloodlines” ($51.6 million debut, $307 million globally), Brad Pitt’s “F1: The Movie” ($57 million debut, $617 million globally, distributed for Apple), “Superman” ($125 million debut, $613 million globally), and Zach Cregger’s horror mystery “Weapons” ($43.5 million debut, $251 million globally and counting). This success is largely attributed to Motion Picture Group co-chiefs Michael De Luca and Pam Abdy, who prioritized filmmaker-driven, original fare, which has traditionally been considered riskier.

Looking ahead, Warner Bros. maintains an ambitious slate. This includes Paul Thomas Anderson’s epic “One Battle After Another” starring Leonardo DiCaprio, opening in September, which represents another significant gamble. Their 2026 lineup features Emerald Fennell’s “Wuthering Heights” remake with Margot Robbie and Jacob Elordi, Maggie Gyllenhaal’s $80 million “Frankenstein” spinoff “The Bride,” DC adventures “Supergirl” and “Clayface,” Anne Hathaway and Ewan McGregor-led sci-fi thriller “Flowervale Street,” “Mortal Kombat II,” an untitled film from Alejandro G. Iñárritu and Tom Cruise, and “Dune Part Three.” This slate suggests a continued focus on genre films and original, filmmaker-driven projects, echoing the strategy that has recently proven successful.

In other cinematic releases, Daniel Minahan’s “On Swift Horses,” adapted from Shannon Pufahl’s novel, explores Muriel (Daisy Edgar-Jones) and Lee’s (Will Poulter) Californian dream post-Korean War, complicated by Lee’s brother Julius (Jacob Elordi) and Muriel’s double life. While visually stunning with Andre Chemetoff’s cinematography, the film is critiqued for lacking sufficient substance beneath its glossy exterior, ultimately feeling like a “slow trot” rather than a sweeping saga.

Photo Credit: Deadline

Jasmin Gordon’s debut feature, “The Courageous,” offers an honest portrait of survival, love, and dignity. Set against Switzerland’s Valais region, it follows Jule (Ophelia Kolb), a rebellious single mother of three, battling poverty and an indifferent welfare system. Kolb delivers a career-defining performance, capturing Jule’s contradictions with depth. Gordon directs with sensitivity, blending social realism with poetic imagery, creating a powerful, heartfelt drama that avoids cliché and sentimentality to highlight the struggles of the working poor in modern Swiss society.

Meanwhile, the Creative Arts Emmy Awards saw significant developments, with the “Daily Variety” podcast indicating a narrowing race among top contenders. On the drama side, “Severance” and “The Pitt” are in a close contest, while “Hacks” and “The Studio” vie for comedy honors. A poignant moment occurred when Jessica Lee Gagné made history as the first woman to win an Emmy for cinematography in a one-hour program for her work on “Severance.”

Backstage at the Creative Arts Emmys, Shawn Hatosy, who won Guest Actor in a Drama Series for “The Pitt,” and presenter Giancarlo Esposito voiced concerns about industry challenges, including the decline of production in Los Angeles and dwindling moviegoing attendance since the pandemic. Esposito proposed a radical solution: offering free movie weekends at multiplexes to reignite the public’s passion for communal cinema experiences, suggesting that while the movies would be free, concessions could still be charged for.