The long-running “Conjuring” franchise reaches a pivotal moment with “The Conjuring: Last Rites,” the allegedly final adventure for real-life paranormal investigators Ed and Lorraine Warren, portrayed by Patrick Wilson and Vera Farmiga. As is common with enduring film series, the question of whether these heroes have run their course is posed early on, finding the Warrens initially lecturing to sparse audiences, seemingly out of the game. However, a send-off is due for the duo who launched a nine-film blockbuster franchise with 2013’s “The Conjuring,” solidifying their status as genre icons.

“Last Rites” diverges from some previous entries by focusing more intently on its marquee characters, reducing the “generic filler” often associated with the series’ various bland families. This time, the central haunting directly impacts the Warrens’ own family. The narrative draws from the highly publicized Smurls case, a Pennsylvania family whose paranormal experiences led them into the media spotlight. The film takes creative liberties, connecting the Smurls’ haunting via a cursed mirror that the Warrens first encountered at the genesis of their careers, just before the birth of their daughter, Judy (Mia Tomlinson).

Decades later, Judy grapples with clairvoyant abilities inherited from her mother, while Ed, who built his career on trusting Lorraine’s visions, continues to be her steadfast believer. The film oscillates between the Warrens' personal struggles and the Smurls' terrifying experiences, setting a waiting game for the demonic forces to emerge. While “The Conjuring” series often commits to the inherent sadness of its ghost stories and dusty aesthetics, it has at times struggled with profound interfamily dynamics, a problem that persists despite the narrower focus in “Last Rites.” Director Michael Chaves, who also helmed previous entries, shows improved form with compelling imagery, though he sometimes overcooks pivotal scares, exemplified by an unnatural flashback during the film’s climax.

Critically, “The Conjuring” has been noted for its occasional generic and sappy elements, yet Wilson and Farmiga’s subtly calibrated performances as Ed and Lorraine Warren have consistently been a strong point, portraying an enduring and aspirational vision of marriage. However, by turning the Warrens into case subjects rather than symbiotic interlopers, “Last Rites” risks diluting the series’ core faith-based convictions. The demons become focused on the Warrens themselves, making the Smurls increasingly peripheral. This shift, combined with the perception that the Warrens’ faith is never truly in doubt, results in an on-rails narrative where the stakes feel unexpectedly smaller, despite a franchise-high runtime, leading some to suggest the series may be past its utility.

Despite mixed critical reception, “The Conjuring: Last Rites” has achieved colossal commercial success, marking the biggest global start in history for a horror film. It debuted with a sensational $194 million worldwide in its opening weekend, surpassing the previous benchmark set by 2017’s “It” ($190 million). The film also set a new international box office record for horror, grossing $110 million, eclipsing 2019’s “It: Chapter Two” ($92 million). Domestically, it earned $84 million, making it the third-biggest opening for the genre. In the U.K. and Ireland, the film secured a commanding No. 1 debut with £6.8 million ($9.1 million).

This record-breaking performance is a significant win for Warner Bros. and New Line, especially given the film’s $55 million price tag. The studio has recently enjoyed a remarkable hot streak, becoming the first in history to achieve seven consecutive film openings above $40 million, rebounding from a rocky period. This success includes titles such as “A Minecraft Movie,” “Sinners,” “Final Destination Bloodlines,” “Superman,” and “Weapons,” demonstrating a successful strategy of leaning into filmmaker-driven projects and original fare. The phenomenal hold of the horror genre on audiences, particularly younger demographics, is evident, as viewers flock to experience scares and great stories on the big screen, reinforcing the thrill of shared cinematic experiences.