$ 2.28 billion: This proud sum has recorded the eight films of the “conjuring” universe so far (the loosely associated “Wolves at the Door” and “Lloronas curse”). The series is therefore considered the most successful horror franchise ever. Those responsible at New Line Cinema and parent company Warner would be quite stupid if they were definitely buried this success mark. And so the new film is called “conjuring 4: the last chapter”, but is only a preliminary conclusion. After all, we know from the film history that “Last chapter” does not have to be the end – see, for example, “Friday, the 13th part 4 – the last chapter”, which followed eight (!) Other films.
In an interview, New-Line boss Richard Brener even announced that “Conjuring 4” will only complete the first phase of the series, but you-Marvel and the MCU have greets-on phase 2. What does that mean? “Conjuring 4: The Last Chapter” is clearly a final for the Warren couple (played by Patrick Wilson and Vera Farmiga), which is determined in paranormal cases), the door is deliberately left open to other stories in the same universe. The farewell to the previous figures in the series is bumpy, but repeatedly convinces with what fans primarily want: successful shock moments. But at the end of the film, of all things, this strength is ignored.
Also in “Conjuring 4: The Last Chapter” is again about a haunted house, namely that of the Smurl family.
In 1964, Ed (here: Orion Smith) and the heavily pregnant Lorraine (first: Madison Lawlor) come across an obviously demonic mirror in one of her first cases. He almost even ensured that the Warrens lose their unborn daughter Judy.
In 1986 ED (now: Patrick Wilson) and Lorraine (Vera Farmiga) more or less rested, while Judy (Mia Tomlinson) has grown up and how her mother can perceive spirits and demons. But then the eerie mirror reappears from once – in the house of the Smurl family, which will soon be hit by ever -escalating paranormal incidents …
The prologue is better than the film
As you can see from our Synopsis, “Conjuring 4: The Last Chapter” begins with a flashback to 1964, which very nicely illustrates the structure of the film and takes up the strengths of the first two films: “Conjuring 4” is – like “conjuring” and “conjuring 2” – a successful mix of horror and well -played family drama Creeper effectively released (and the other way around).
When Lorraine sneaks through a dimly lit antique shop full of uncanny masks and ticking watches at the beginning, this is a well -made but not outstanding scene. But it is sufficient that the Warrens at the directly subsequent birth, which almost ends in a tragedy, presses the thumb. A successful, surprisingly touching start.
Patrick Wilson and Vera Farmiga also harmonize splendidly in “Conjuring 4”.
In the central part of the plot in 1986, the mixture of horror and family history often does not work as well because director Michael Chaves divides history into two places of action and puts it together late. While the horror of the Smurl family breaks down, Chaves always shows the everyday life of the Warrens between university lectures, doctor visits and birthday parties with a table tennis tournament.
This is captured by chief cameraman Eli Born (“Companion – The Perfect Accompaniment”) in beautiful pictures. In addition, Patrick Wilson and Vera Farmiga played this again very charismatically. Ed's reactions to his daughter's fiance (Ben Hardy) even bring a surprising amount of humor into the action. However, this side of the film does not want to ignite. All of this brakes “conjuring 4” again and again in the middle section. Especially in view of the much too long term of 135 minutes, the scary mood suffers.
Strong horror, weak dramaturgy
The shock scenes themselves are actually really good: In its inclusive “Llorona's curse”, fourth film from the “conjuring” universe is always convincing in the Smurls house, where the horror railway will soon break. Then he then skillfully resolves this promise – for example with a dark pantry, in which the long telephone cable (by the way does not the only piece of time color in the film) of the family disappears, with a crawling electronic baby doll or with the dim basement in which mother Janet (Rebecca Calder) soon thinks scary figures.
In addition, the filmmaker and his franchise-experienced authors Ian Goldberg, Richard Naing (both “The now 2”) and David Leslie Johnson-McGoldrick (“Conjuring 2”) are more and more with their storylines. This means that not everything is always well coordinated. In a well -played scene, Dawn (Beau Gadsdon), the oldest daughter of the family, rightly complains that one stays in the house despite the obvious haunt. However, this scene would have been much more effective and dramaturgically sensible after the two directly subsequent, once more violent shock moments.
Again and again there are successful shock moments in “Conjuring 4”.
The decision as to what is shown and what does not remain incomprehensible again and again. We only learn that the grandmother's off-screen, who is also living in the house, was pushed down the stairs and therefore has to go to the hospital. Elsewhere, however, you have enough time to let us share how Ed and his son -in -law repair a motorcycle. A dramatic sequence is therefore left out, a rather irrelevant moment is given space.
At the end of the film, the storylines of the Warrens and Smurls are finally brought together, but the finale of “Conjuring 4” is the biggest weakness in the film. As if they had to compensate for the lengths from the middle section, Michael Chaves and Co. burn a rioter here instead of continuing to put the creepy moments so convincing. There is even a misplaced “Evil Dead” memory of camera. The overhanged resolution of the demonic haunt and the explanation of how the Warrens are connected with it.
Conclusion: After a total of nine films, the Warrens would have wished to say goodbye to their horror success. “Conjuring 4: The Last Chapter” convinces with strong creepy scenes, but is far too long and has several dramaturgical weaknesses.