The long-running “Conjuring” franchise reaches its alleged conclusion with “Last Rites,” a film that brings real-life paranormal investigators Ed and Lorraine Warren, played by Patrick Wilson and Vera Farmiga, back into the spotlight. After launching a nine-film blockbuster series with “The Conjuring” in 2013, the Warrens, often depicted as larger-than-life characters, initially appear to be out of the game, giving sparsely attended lectures. However, all heroes require a send-off, and this installment focuses more intimately on its marquee characters, moving away from the generic filler that sometimes bogged down previous entries.

“Last Rites” delves into one of the Warrens’ most publicized cases: the Smurls, a three-generation Pennsylvania family experiencing severe paranormal activity. The film takes creative liberties, connecting the Smurls' haunting to a cursed mirror the Warrens first encountered early in their careers, just before the birth of their daughter, Judy (Mia Tomlinson). Decades later, Judy, now engaged to an ex-cop (Ben Hardy), is overwhelmed by clairvoyant abilities inherited from her mother. The story shifts between the Smurls' increasingly terrifying experiences and the Warrens' struggles, particularly as the demons become focused on the Warren family itself.

While the “Conjuring” series has been known for its jump scares, “Last Rites” continues a trend of muddled unease, with obvious telegraphing of spooky sequences. Director Michael Chaves, who also helmed “The Conjuring: The Devil Made Me Do It” and “The Nun II,” shows improved form here, delivering a few commanding images, though he occasionally overcooks pivotal scares. Despite criticisms that centering the story on the Warrens made the stakes seem smaller, Patrick Wilson and Vera Farmiga once again deliver subtly calibrated, genre-iconic performances, portraying an enduring and aspirational portrait of marriage.

“The Conjuring: Last Rites” proved to be a massive commercial success, breaking box office records with a global debut of $194 million, surpassing 2017’s “It” to become the biggest global start in history for a horror film. Domestically, it earned $84 million, marking the third-biggest opening for the genre. With a production budget of $55 million, the film is an immediate commercial triumph for Warner Bros. and New Line, contributing to the “Conjuring” universe's status as the highest-grossing horror franchise in history, with over $2.3 billion.

The film’s success is a key part of Warner Bros.’s remarkable box office turnaround, extending an epic theatrical run as the seventh consecutive release to open above $40 million—a consistency level no other studio has achieved. After a challenging period with commercial disappointments like 2024’s “Joker: Folie a Deux,” “Mickey 17,” and “The Alto Knights,” Warner Bros. rebounded strongly with hits such as “A Minecraft Movie” ($957 million globally), “Sinners,” “Final Destination Bloodlines,” “F1: The Movie,” “Superman,” and “Weapons.” This dramatic shift has solidified the positions of Warner Bros. Motion Picture Group co-chiefs Michael De Luca and Pam Abdy, who were previously facing uncertainty.

Looking ahead, Warner Bros. has a diverse slate planned, including Paul Thomas Anderson’s