The cinematic world, much like its heroes, inevitably confronts the question of longevity, a challenge now faced by the “Conjuring” franchise and its iconic paranormal investigators, Ed and Lorraine Warren. Their latest, and “allegedly final,” adventure, “Last Rites,” arrives amidst this introspection, contributing to an unprecedented box office resurgence for Warner Bros. The film's robust opening — a franchise-best $83 million domestically and $187 million globally — marks a significant win, extending Warner Bros.'s streak to seven consecutive releases opening above $40 million, a consistency unparalleled in the industry.

“The Conjuring: Last Rites” delves deeper into the personal lives of Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga), initially finding them retired and lecturing to sparse audiences, but quickly drawing them back into the supernatural fray. The narrative takes a more intimate turn by focusing on their own family, particularly their daughter Judy (Mia Tomlinson), who grapples with inherited clairvoyant abilities. The plot ingeniously weaves in elements from one of the Warrens' most publicized real-life cases, that of the Smurls, a Pennsylvania family terrorized by a cursed mirror first encountered by the Warrens at the very start of their careers, just hours before Judy's birth in 1964. This origin story, featuring a traumatic birth and a demon's attempt on baby Judy's life, establishes a deeply personal stake for the Warrens as they confront an evil presence that resurfaces in 1986. While Ed, known for trusting Lorraine's visions, navigates the physical world, Lorraine and Judy face the chilling reality of their shared clairvoyance, which often leaves Judy feeling watched.

The “Conjuring” franchise, which launched with “The Conjuring” in 2013 and has grown to nine canon films, has often been characterized by its blend of “bump-in-the-night scares” and a sometimes “generic, sappy” approach, with the eclectic Warrens frequently overshadowing the bland families they assist. “Last Rites” attempts to sidestep this by offering a narrower, more character-focused narrative, though it’s also steeped in familiar finale fan service. Despite its commitment to the “dusty interior decoration and inherent sadness” of its ghost stories, the film, according to some critiques, continues to struggle with profound interfamily dynamics. The series, fundamentally “faith-based at heart,” traditionally depicted the Warrens’ convictions reshaping others' situations. However, with “Last Rites” turning the Warrens into case subjects themselves, the Smurls become increasingly peripheral, and the inherent doubt in the Warrens' faith, or lack thereof, renders the stakes smaller and the story somewhat “on-rails.” This “over-investing” in its most reliable creation, the Warrens, ultimately suggests the series may be “well past its utility.”

Under the direction of Michael Chaves, who also helmed “The Conjuring: The Devil Made Me Do It” and “The Nun II,” “Last Rites” showcases an improved form. Chaves delivers “commanding images,” such as an anxious child’s face in home video playback or the “gloomy infinity mirror” of a wedding dress shop, and effectively uses a hand-held camera effect to evoke an 1980s aesthetic. Yet, the film occasionally “overcooks” its pivotal scares, exemplified by an “unnatural flashback” during the climax. Regardless of narrative criticisms, Wilson and Farmiga once again deliver “extraordinary” and “subtly calibrated” performances, solidifying their status as “genre icons.” Their portrayal of Ed and Lorraine as two kooky individuals, united in their unique understanding of the world, offers an “enduring, even aspirational portrait of marriage: two lovers against the world.” The film culminates in tense and unsettling supernatural events involving Judy and her boyfriend Tony (Ben Hardy), providing a “spine-tingling finale” with familiar faces for superfans.

The success of “The Conjuring: Last Rites” is a cornerstone of Warner Bros.'s dramatic box office turnaround. After a “terrible theatrical stretch” in late 2024 and early 2025 with significant losses from films like “Joker: Folie a Deux,” “Mickey 17” (which incurred at least $110 million in losses with “The Alto Knights”), the studio’s fortunes reversed with a string of hits. These included April’s “A Minecraft Movie” ($162 million debut, $957 million globally, becoming the studio's biggest earner of the year), Ryan Coogler and Michael B. Jordan’s vampire thriller “Sinners” ($48 million debut, $366 million globally, expected $60 million in profits), “Final Destination Bloodlines” ($51.6 million debut, $307 million globally, expected $75 million profits), Brad Pitt’s “F1: The Movie” ($57 million debut, $617 million globally, $34 million distribution profits for Warner Bros.), “Superman” ($125 million debut, $613 million globally, expected $125 million profits), and Zach Cregger’s horror mystery “Weapons” ($43.5 million debut, $251 million globally, expected $65 million profits). This impressive lineup, according to analyst David A. Gross, demonstrates “outstanding choices” and “big creative risks” paying off, generating roughly $600 million in combined theatrical profits year-to-date before “The Conjuring: Last Rites.” This turnaround has notably taken the pressure off Warner Bros. Motion Picture Group co-chiefs Michael De Luca and Pam Abdy, who had faced job security questions and initiated a marketing and distribution shakeup earlier.

Looking ahead, Warner Bros. has a compelling, albeit risky, slate of films planned. The studio's final release of the year is Paul Thomas Anderson’s epic “One Battle After Another,” a $130 million production starring Leonardo DiCaprio, requiring approximately $300 million to break even. For 2026, the lineup includes Emerald Fennell’s “Wuthering Heights” remake with Margot Robbie and Jacob Elordi, Maggie Gyllenhaal’s $80 million “Frankenstein” spinoff “The Bride,” two DC adventures (“Supergirl” and “Clayface”), the Anne Hathaway and Ewan McGregor-led sci-fi thriller “Flowervale Street,” video game sequel “Mortal Kombat II,” an untitled film from Alejandro G. Iñárritu and Tom Cruise, and “Dune Part Three.” This slate continues to prioritize “genre fare and filmmaker-driven originals over time-tested franchises,” a strategy that, despite initial perceived risks, has recently yielded substantial rewards.

Beyond the Warner Bros. blockbusters, other notable films are making their mark. Daniel Minahan’s “On Swift Horses,” adapted from Shannon Pufahl’s novel, tells a tale of Muriel (Daisy Edgar-Jones) and Lee (Will Poulter) chasing the Californian dream, intertwined with Lee’s brother Julius (Jacob Elordi) and Muriel’s own double life. Despite “rich material” and beautiful cinematography by Andre Chemetoff, the film is critiqued as “all style, with little substance,” struggling to cohere into a sweeping saga. Meanwhile, Jasmin Gordon’s debut feature, “The Courageous,” stands out as an “honest portrait of survival, love, and dignity.” Set in Switzerland’s Valais region, it features Ophelia Kolb in a “career-defining performance” as Jule, a rebellious single mother navigating poverty and an indifferent welfare system. Gordon's sensitive direction blends social realism with poetic imagery, creating a powerful, heartfelt drama that avoids cliché and sentimentality, profoundly exploring the “often invisible battles of the working poor.”