The Conjuring: Last Rites

The jump scares in this, the ninth entry in the Conjuring universe, are most effective.

The fearful utterances of the young man sitting immediately behind me in the cinema attests to that.

Since James Wan directed The Conjuring in 2013, we have warmed to Vera Farmiga and Patrick Wilson playing renowned, real life paranormal investigators.

They represent Ed and Lorraine Warren, in the last case in which they intervened in the lives of a haunted family.

I speak of the eight-strong Smurls, who lived in West Pittston, Pennsylvania and were preyed upon in the mid ‘80s and into the ‘90s.

Reluctant though the Warrens were to get involved, because by then they had retired from ridding demons from haunted houses, it was their daughter who drew them in.

Judy was born under duress. Lorraine – who has nasty visions – was on her first case, which involved terror reflective in a mirror, when she went into labour.

Judy, too, started to see bad things at an early age, and her mum taught her a silly little expression to keep them at bay.

Now, all grown, and with a serious boyfriend – ex cop Tony Spera (Ben Hardy) – her foreboding visualisations are becoming stronger and less easy to control.

That all comes to a head after an alarming incident involving the parish priest, Father Gordon (Steve Coulter), after which Judy is drawn to the Smurls’ house.

Each of the Smurls has fallen prey to evil, to which we – the audience – are witness. So far, nothing and nobody can keep them from harm’s way.

It is there that Judy (Mia Tomlinson) and her parents will confront the most ferocious of demons.

That involves the reflective mirror that spooked Lorraine when she first set eyes upon it.

Deliberately used sparingly, the visual effects in The Conjuring: Last Rites – appearing out of the shadows – are well chosen and confronting.

Also noteworthy is the film’s potent production design by John Frankish and the evocative, chilling score by Benjamin Wallfisch.

Director Michael Chaves (The Nun II) confidently walks us into the relentless heart of darkness.

There is a comfortable familiarity about the roles assumed by Vera Farmiga and Patrick Wilson – she, kind and giving, and he protective.

In Last Rites, health issues have forced Ed (and therefore Lorraine) to step back from what they have been known for.

Having inherited her mother’s foreboding, Mia Tomlinson, as dutiful daughter Judy, adds another layer to the narrative.

Tomlinson plays the part as troubled, but having adopted her mother’s warm embrace.

Another noteworthy element in the screenplay is the tension between Ed, who is reluctant to fully embrace Judy’s boyfriend, Tony, who treads warily.

Tony is aware that Judy is different, but just how different will become clear as he, too, is exposed to the horrors of possession.

Ben Hardy navigates that unease well.

I was involved, engaged and appreciative of the offering until the Hollywood ending, which I could have done without.

As far as I am concerned, the finish should have been at the Smurls’ home, with telemation of the Wilsons’ fate thereafter.

Still, I am pleased to be able to say that The Conjuring: Last Rites is up there with the best of breed in The Conjuring repertoire.

Importantly, even if you haven’t seen any of the others in the franchise, this one can readily be viewed and understood in isolation.

Rated MA, it scores a 7½ out of 10.