The Conjuring: The Devil Made Me Do It (2021) is directed by Michael Chaves, featuring a script by James Wan and David Leslie-McGoldrick. It stars Vera Farmiga, Patrick Wilson, Sterling Jerins, Ruairi O’Connor, Sarah Catherine, John Noble, Julian Hilliard, Eugenie Bondurant, Shannon Kook, Ronnie Gene Blevins, Keith Arthur Bolden, Steve Coulter, Vince Pisani, Ingrid Bisu, Andrea Andrade, Ashley LeConte Campbell, Charlene Amoia, and Paul Wilson. This third installment in the titular blockbuster horror franchise once again follows paranormal investigators Ed (Wilson) & Lorraine Warren (Farmiga), this time as they investigate the case of Arne Johnson (O’Connor), a young man who murders his landlord, claiming he was possessed by the devil. Quickly determining that his story is genuine, Ed & Lorraine set out to stop those responsible. However, it soon becomes apparent that something about this case is different, forcing them to accept the fact that the worst kinds of evil rarely come from beyond the grave. 

Farmiga and Wilson are once again effortlessly likable as Ed & Lorraine, aided by a script that gives further context to their relationship, morals, and other aspects of their character development. Some of the film’s best moments revolve around their romantic connection, specifically how their differences complement one another rather than drive them apart. It’s also fitting to see them, specifically Ed, experience real-life struggles in addition to the dangers they face on the job. In the previous installments, Ed would act as the physical protector, but now he is forced to deal with a weak heart. You can imagine the tension this adds to an already heart-pumping job, a simple jolt being all it could take to punch his ticket. It doesn’t do enough to actually make the audience believe Ed might die, but there’s no denying that it helps.

The family at the center of the story’s supernatural events initially receives a lot of focus, tricking me into thinking they’d be the most dynamic victims in the series. Unfortunately, they’re nearly abandoned in the second half, simply acting as a “ticking clock” element to the Warrens’ investigation. John Noble is a fun addition as a mysterious retired priest, but the only other standout cast-wise is Shannon Kook returning as the Warrens’ sidekick (for lack of a better term), Drew. However, I’ll admit this is almost entirely because it adds a much-needed sense of continuity to the franchise. We learn absolutely nothing new about the character (and we didn’t know much to begin with). Still, he remains likable simply because the Warrens trust him. Although always kind, the Warrens don’t seem to trust easily, but we trust them, and they trust Drew. Therefore, we trust Drew.

Without James Wan in the director’s chair, the film loses the X-factor that made the first two installments so memorably chilling. Wan achieved something masterful in the sense that he was able to scare people in ways they never could’ve expected, all while doing so in a subgenre that even a lot of casual audiences know well. He held an almost prolific ability to design scares that manipulate expectations in completely unexpected, intelligent ways, so I don’t really blame Chaves for not even attempting to match that kind of prowess. Thankfully, this ends up being a blessing in disguise. This is because Chaves avoids filling the runtime with extended horror setpieces, allowing for a more plot-focused experience without sacrificing the character moments that elevate this over typical demon/ghost/possession films. Wan’s scares and surprises are still impressive. However, their effect relies solely on being surprised, which, after a second viewing, reveals how shallow his films actually are. Upon my initial viewing, I found the film to be a massive disappointment, but upon rewatching all three installments, I now feel the opposite. Yes, the scares here are more traditional and therefore less effective, but this saves the story from featuring yet another sequence where someone walks through their dark house, forgetting that light switches exist, and searches every dark corner until the inevitable “Boo!” moment. 

Although a worthy change of pace that contains fewer glaring flaws than the previous film, it also feels like the most ‘safe’ entry in the franchise. A lot of what happens, we’ve seen before in countless other horror films, but they’re the kind of familiar beats/elements that are irresistible to fans of the genre. Devil worshippers/the occult are common in the subgenre, but the angle feels fresh for this franchise, specifically. Having a human villain this time adds a more tangible, realistic feel to the horror, yet still provides the supernatural element we’ve come to expect through her dark, Satan-provided powers. 

The film nicely continues the franchise’s family-centric themes, this time focusing on both the beauty and evil of passing on our “obsessions” to the next generation. At the end of the day, we can’t change who we are or predict the future. We won’t know what our children will take away from us, positive or negative; All we can really do is love and protect them to the best of our ability. Unfortunately, this theme is inconsistent and ultimately surface-level. It’s an interesting, unique message; I wish it were far more prominent. 

Overall, this is a worthy installment in The Conjuring franchise, despite being its most formulaic. That being said, I think the newfound focus on plot as opposed to extended scare set pieces makes this a more accessible, re-watchable film. I also think Chaves’ visual sensibilities in terms of lighting/color blow the first two out of the water. It’s not always the scariest installment, but it may well be the most brutal, actually featuring a death or two this time around. I didn’t feel this way before my rewatch, but I actually enjoyed it significantly more than the much-praised Wan installments. This is seemingly the favorite franchise of the most casual sect of horror fans, so considering that Ed and Lorraine are basically the horror equivalent of superheroes (which is a genre we all know casual fans can’t get enough of), it makes sense that those audiences don’t connect with this film’s darker sensibilities. Maybe I was just half-asleep or something, but I see it as underrated. Just leave your expectations at the door, and enjoy spending another two hours with these wonderful characters. B-