Bad Habit

The Nun
***/****
By Jason Wiese
Whenever I find myself in a conversation about the The Conjuring films and their spin-offs, I tend to play devil’s advocate (permission to take that as a pun, granted).
For starters, I think the one that started it all, James Wan’s 2013 film based on the case files of famed paranormal investigators Ed and Lorraine Warren, is a solid horror treat, but far from anything masterful. While many regard 2016’s The Conjuring 2 as a worthy follow-up, I actually prefer the widely despised Annabelle spin-off from 2014. In fact, I would even say I prefer it over its amusing 2017 prequel, Annabelle: Creation. Now, I feel at odds with myself this time upon the realization that the latest spin-off, based on a character introduced in The Conjuring 2 which I regarded as a cheap, throwaway antagonist, may be my favorite film from this universe yet.
The Nun is set in 1952 when, following a disturbing incident at a Romanian abbey, Father Burke (Demián Bichir) is appointed by the Vatican to investigate. Accompanying him is Sister Irene (Taissa Farmiga, Vera’s younger sister), a novice who has yet to take her final vows to officially be deemed a nun. The deeper Burke delves into the investigation, the darker his findings become. Furthermore, the closer he gets to the truth, the stronger and angrier an evil presence in the abbey grows. This malicious entity taunts the sisters of the abbey by taking the unholy form of one of their own.
Even more than good scares, something I have craved from this series from the beginning is genuine, passionately executed cinematic craftmanship. Director Corin Hardy, who made one of the most impressive and relentlessly horrifying films I have seen recently with 2015’s The Hallow, seems to be a filmmaker first and a horror maestro second. It shows in his effort to make The Nun not only effectively creepy, but also an endearing, character-driven story with admirable themes of faith, devotion and courage, elevated by a great cast, the refreshing use of practical effects, which this franchise could have used more of all along in my opinion, and gorgeous cinematography by Maxime Alexandre.
I will say, regrettably, that it would be a sin to not admit to this film’s flaws. However, the film’s misgivings are the same sorts of tropes that the Conjuring Universe has been suffering from since the beginning, which, at this point, I feel I have no choice but to accept. What eases me into this level of tolerance is the film’s efforts to be darker, creepier and visually gratifying. For that, I applaud The Nun for being, by default, the most satisfying entry yet.
Of course, given my history with this franchise, I am certain that few will agree with me, but all is forgiven.
Published Friday, September 7, 2018
