The cinematic landscape has recently seen a diverse array of new releases, from the culmination of a popular horror franchise to a visually striking period drama and a heartfelt social realist film. Among these, the latest installment in the long-running "Conjuring" series, titled “Last Rites,” raises the perennial question faced by any long-standing franchise: is it time for its heroes, paranormal investigators Ed and Lorraine Warren, to finally retire? After launching a nine-film blockbuster franchise in 2013 with “The Conjuring,” this new adventure, allegedly their final one, initially finds the Warrens out of the game.

“The Conjuring: Last Rites” delves into a more personal case for Ed (Patrick Wilson) and Lorraine (Vera Farmiga), as they investigate a haunting that impacts their own daughter, Judy (Mia Tomlinson). The narrative draws from the real-life Smurls case, a three-generation Pennsylvania family experiencing severe paranormal activity. The film ingeniously weaves in a cursed mirror, first encountered by the Warrens at the beginning of their careers just before Judy’s birth, connecting their past to their present struggles. Judy, having inherited her mother’s clairvoyant abilities, is overwhelmed, while Ed, relying on Lorraine’s visions, remains her steadfast believer.

Critical reception for “The Conjuring: Last Rites” has been mixed. Some reviewers find the film, directed by Michael Chaves, to perpetuate the series' typical generic and sappy formula, with muddled unease and predictable scares, suggesting the franchise may be past its utility despite a bloated runtime. These critics point to Chaves’ less playful direction compared to original franchise director James Wan and instances of overcooked pivotal scares. However, other critiques praise the film, rating it highly for its effective use of horror tropes, creating a spine-tingling experience with clammy palms and racing heart rates. This perspective highlights Chaves’ improved form, armed with commanding images, and a hand-held camera effect that captures the 1980s feel, culminating in a tense and unsettling finale involving Judy and her fiancé.

Despite divided opinions on the film’s overall execution, the performances of Vera Farmiga and Patrick Wilson as Lorraine and Ed Warren consistently receive high acclaim. They are lauded for their subtly calibrated portrayals, which have cemented them as genre icons, delivering believable calm amidst supernatural chaos. Their chemistry creates an enduring, almost aspirational, portrait of marriage, even as “Last Rites” shifts focus to make the Warrens themselves the subjects of the haunting, testing their faith and personal resilience.

Another notable release is Daniel Minahan’s “On Swift Horses,” an adaptation of Shannon Pufahl’s 2019 novel. The film introduces Muriel (Daisy Edgar-Jones) and Lee (Will Poulter) pursuing the Californian dream after Lee’s return from the Korean War. Their aspirations are complicated by the arrival of Lee’s magnetic younger brother, Julius (Jacob Elordi), who soon departs for Las Vegas. There, Julius finds work in a casino and embarks on a secret romance with his charismatic coworker, Henry (Diego Calva), while back in California, Muriel begins her own double life, engaging in racetrack gambling and discovering an unexpected passion with her neighbor, Sandra (Sasha Calle).

While the material of “On Swift Horses” is considered rich on paper, critics suggest that Minahan’s direction ultimately falls short. The film is visually stunning, with Andre Chemetoff’s cinematography bathing everything in a golden haze, but underneath this gloss, there is reportedly not enough substance to truly hold the narrative together. It aspires to be a sweeping saga akin to “East Of Eden” but, in the critical view, never progresses beyond a slow trot, concluding as a film that prioritizes style over genuine substance.

Conversely, Jasmin Gordon’s debut feature film, “The Courageous,” stands out as an honest and powerful portrait of survival, love, and dignity. Set against the beautiful landscape of Switzerland’s Valais region, the film follows Jule (Ophelia Kolb), a rebellious single mother of three who steadfastly refuses to give up on her family despite facing poverty, past mistakes, and the indifference of the welfare system.

“The Courageous” is praised for its exceptional performances, particularly Ophelia Kolb’s career-defining portrayal of Jule, capturing her complex contradictions with remarkable depth. Gordon’s sensitive direction seamlessly blends social realism with poetic imagery, crafting a narrative that avoids cliché or sentimentality. The film bravely shines a light on the often-invisible battles of the working poor in modern Swiss society, where destitution remains a taboo subject. It is lauded as a powerful, heartfelt drama about resilience and the complexities of human imperfection, marking Gordon’s debut as both mature and profoundly engaging.