Sneha Jaiswal's Blog, page 9
September 9, 2025
Coming Back Graphic Novel Review
Sneha Jaiswal (Twitter | Instagram)
‘Coming Back’ by Jessi Zabarsky is a slightly abstract fantasy graphic novel, set in a fictional mystical island inhabited by women with magical powers. It’s a little like Themyscira, the all-female society Wonder Woman comes from, but instead of warriors, Zabarsky’s novel is about magical shapeshifters.
The primary protagonists of the tale are Preet, one of the best shapeshifters in the village, while her partner Valissa cannot do any magic. Something strange happens in their library, which contains all the knowledge about their people, so Valissa volunteers to investigate, disappearing for an unspecified amount of time. And because this is a fantasy book, I really don’t know if she is gone for a few months or years. Because who knows how time functions in magical places?! With Valissa gone, Preet decides to have a child in secret, leading to her being exiled by the village elders when they learn about the kid. What will happen when Valissa comes back?
The artwork in ‘Coming Back’ is beautiful; it’s on the simpler side, with a pleasant pastel palette. The illustrations are the kind that would appeal most to younger readers, but this graphic novel’s themes would be lost on kids. I’d definitely not recommend it for readers younger than 15; on the other hand, it’s too simple for older readers.
One way to sum up the plot of ‘Coming Back’ is this: Preet, a young shapeshifter, decides to have a child without her partner Valissa, then turns into a tree to avoid confrontation over her decision when Valissa returns. Luckily, Valissa eventually warms up to the child, and the couple live happily ever after. That’s practically the whole story.
If you’re looking for graphic novels with queer romances and engaging artwork, I’d recommend ‘Laura Dean Keeps Breaking Up with Me’, ‘Camp Spirit’, ‘Cheer Up!’, or even the more popular ‘Heartstopper’ and ‘The Magic Fish’, just in case you haven’t read them. ‘Heartstopper’ is a series, but the other titles are standalone works.
Rating for ‘Coming Back’: 3 on 5.
Read Next: The Thursday Murder Club Review (Audio Version Below)
Kill to Love Review: Zhang Zhe Xu, Mi Jin Burn in Doomed Love
Sneha Jaiswal (Twitter | Instagram)
“The mountains and rivers span endlessly… but only you are the freedom I long for.”
The Chinese drama ‘Kill to Love’, based on author Yi Han He’s ‘Shan He Yong Ji‘ (山河永寂), follows the ill-fated romance between Prince Xian Shu He (Mi Jin), a gentle royal, and Duan Zi Ang (Zhang Zhe Xu), a ruthless assassin bound by revenge. The story opens with revenge and political games, but soon unravels into a tragic love affair, overflowing with yearning, obsession, betrayals, violence and desire.
Spanning 12 episodes, ‘Kill to Love’ begins with Duan Zi Ang’s late mission to assassinate Crown Prince Xiao Shu Qian (Chen Fang). Disguised and deadly, he slips into the Southern Kingdom’s palace but fails in his attempt. To bide his time, he turns his attention to Shu Qian’s younger brother, the gentle Sixth Prince Shu He, not expecting to fall for the young royal.
Though Shu He repeatedly asserts has no taste for politics, dreaming instead of a quiet life of travel and zither music, he soon finds himself ensnared in the palace’s power struggles and the rival Northern Kingdom’s schemes. Fearing Shu He’s growing favor with the Emperor, the Crown Prince orders his trusted guard Huo Ying (Wang Ding) to spy on him, ready to kill at the slightest provocation. Shu He’s closeness with Zi Ang only tightens the noose.
This isn’t the kind of historical drama drowning in opulence, but “Kill to Love” wins you over with its subtle visual story-telling. The carved details of the sixth prince’s mansion, the sheen of embroidered robes, and the lilting score that underscores each glance and touch, all combine to craft a world that is pleasing to the eye. While war and violence are a core theme of the tale, the creators cleverly limit the large-scale skirmishes to quick sequences, so the budget constraints don’t stand out.
The heart of any historical romance of course lies in its leads, and here Mi Jin and Zhang Zhe Xu light up the screen with crackling chemistry as the Prince and the Assassin. Zhang Zhe Xu captures Zi Ang’s duality with finesse, embodying both the cold edge of a poisoned dagger and the tender glow of a candle willing to consume itself for Shu He. Meanwhile, Mi Jin channels Shu He with dreamy grace, his refined posture and layered performance capture a prince bred in luxury, yet visibly burdened by the moral weight of power.
Yet instead of giving their courtship time to breathe, the creators rush the romance in the first half of ‘Kill to Love’, leaning heavily on a handful of childhood flashbacks to sell the love story. The result is a stormy relationship that feels accelerated and could’ve used more breathing room. One second Zi Ang is mocking Shu He’s softness, the next second he is melting over him. But oh well, Mi Jin’s Shu He looks so gorgeous throughout the show (the posters don’t do him justice), Zi Ang’s blind devotion almost feels inevitable.
The characterization and grown of them some of the characters in ‘Kill to Love’ were uneven. Zi Ang remains relatively straightforward in his arc, while Shu He is far more complex, confusing, and often frustrating, leaving both Zi Ang and the audience exasperated. His repeated claims of wanting no power ring mostly sincere, yet his unwavering loyalty to a brother who openly seeks his death is baffling. “You love the person who hates you and hate the person who loves you!” Zi Ang screams at him in anguish, capturing the audience’s own frustration.
Shu He’s troubled relationship with his brother deserved more growth in ‘Kill to Love’. A couple of extra episodes would’ve have given the romance and palace intrigue alike the space they needed, smoothing out the story’s uneven pacing. There’s this half-hearted romantic tease between Huo Ying and Shu He’s physician that feels pointless. While it may hold greater significance in the novel, the live-action adaptation would have benefited from omitting it.
The larger arc also plays with genre expectations: rather than the familiar “enemies-to-lovers,” the story in “Kill to Love” runs in reverse. Lovers curdle into rivals as they ascend thrones of opposing kingdoms in the second half, though Zi Ang continues to cling to the hope of rekindling what they once had.
Despite small missteps, such as the unchanged costumes across a supposed five-year leap, “Kill to Love” delivers as a heartfelt period drama where palace intrigue meets burning romance. The finale delivers a gut-punch of emotion, equal parts heartbreaking and grounded, giving the protagonists a realistic conclusion. For fans of historical romances filled with intrigue and twists, this one is well worth watching.
Watch ‘Kill to Love’ on YouTube, Gagaoolala, or Viu.
Read Next: Revenged Love Review: Snakes, Scheming, & RomCom Hilarity
Also Read: The Thursday Murder Club Review (Audio Version Below)
They’re Coming Tonight Short Film Review
Follow us on Twitter | Instagram
“They’re coming tonight. We have to be ready,” a man declares, his voice low and urgent, to a curly-haired woman in a beret who seems oddly out of place indoors. She is probably channeling Bonny from the 1967 classic.
Who is coming, how does this man know they’re coming, why and what are they going to do? We know nothing. But that mystery is part of the charm of the grainy black-and-white short horror film ‘They’re Coming Tonight’ by John Bonner.
Actors Gabriel Burrafato and Gabriella Gonzalez Biziou star as a couple under siege from a mysterious group of strangers. As the minutes tick by, they brace themselves, whether for discovery or attack remains uncertain, leaving viewers unsure of what’s to come.
Running under ten minutes, ‘They’re Coming Tonight’ plays like a retro slice of 1960s noir. The actors embrace heightened theatrics in their exchanges, while the score steadily builds suspense over their looming fate.
Are they outlaws? swindlers? Maybe just tax cheats? You won’t know until the closing moments spill the secret. The darkly comic twist at the end pays off, making the slightly uneven build-up worth the wait.
Watch ‘They’re Coming Tonight’ on Alter’s YouTube channel.
Read Next: Weapons Movie Review: Six-Act Horror Serves Slowburn Terrors
Also Read: The Thursday Murder Club Review (Audio Version Below)
September 8, 2025
Sakamoto Days Episode 20 Review: Nao vs Shin in a Battle of Fans
Follow us on Twitter | Instagram
The JCC assassin exam chaos continues in ‘Sakamoto Day’! Episode 18 ended of the anime ended with an interesting revelation: the blue-haired Akira is related to Sakamoto’s old friend Rion Akao, a legendary assassin. A brief flashback shows Sakamoto, Rion and Nagumo were very close friends during their days in the JCC and JAA.
Also Read: Sakamoto Days Episode 19 Review: Deadly Team Battles
Titled ‘Mutual Fans’, episode 20 of ‘Sakamoto Days’ kicks off with Nao Toramaru throwing a hilarious tantrum after Mafuyu ridicules her for being a Otaku. She is a hardcore fan of Taro Sakamoto, carrying a cute mini doll that looks like him. Of course, she has no clue that her idol is the chubby yellow-shirt man participating in the exams.
Nao figures out that Shin is also a fan of Sakamoto, so she battles it out with him to prove she is the “Number 1 Sakamoto fan.” The two engage in an exciting face-off, with Nao going all guns blazing (literally, with a huge gun) against Shin.
The best frame in this edition of ‘Sakamoto Days’ is Nao imagining Sakamoto as a sort of hitman-Buddha, complete with a golden halo and multiple hands holding guns and swords. Comical flashbacks reveal how she became an obsessive Sakamoto fan.
This is an action-packed, violent chapter that ironically features very little of Taro Sakamoto and much more of the other candidates. While everyone else is fighting for their lives, Team Sakamoto is happily camping away in some corner of the island.
Meanwhile, we learn that Slur has planted a minion in the JCC exams to “recruit” candidates for his own cause. There’s an interesting twist involving Slur’s representative, who unsurprisingly goes on a maniacal murder spree to weed out the weak and find those worthy of joining his side.
The JCC exam is still far from over, and it will be interesting to see who finally makes it into assassin school.
Watch ‘Sakamoto Days’ on Netflix.
Read Next: Lord of Mysteries Review: Beyonders & a ‘Beyond-My-Brain’ Pace (Audio Version Below)
September 7, 2025
Memoir of Rati: Stunning Leads, Forgettable Series
Sneha Jaiswal (Twitter | Instagram)
Let me start off this review of ‘Memoir of Rati’ by fessing up that I think Inn Sarin Ronnakiat and Great Sapol Assawamunkong are one of the best-looking pairs in GMMTV, the Thai TV production company that churns out gay romances by the dozen. The actors were adorable in the romantic-comedy ‘Wandee Goodday’, and that onscreen chemistry remains intact in their second outing as romantic leads too…. but the script is so slow, and bland that it doesn’t do justice to their screen presence and dynamic.
Directed by Leejern Natchanit Jirarungroj, ‘Memoir of Rati’ ( จาฤกรติชา) is a historical romance drama based on the web novel of the same name by P. Picha. Set in 1915, the series spans 12 episodes and stars Inn Sarin Ronnakiat as the titular protagonist Rati Dière, the adopted son of a Frenchman, who comes to Siam and is employed as a French interpreter by the Ministry of Education. Great Sapol Assawamunkong plays Theerathon, a high-ranking official who falls in love at first sight with Rati and begins to befriend him. As they grow closer, several social barriers, including class differences and stigmas, complicate their blooming romance.
Aou Thanaboon Kiatniran and Boom Tharatorn Jantharaworakarn who were seen together in ‘Perfect 10 Liners’ and ‘We Are’, play the secondary couple Mek and Dech in ‘Memoir of Rati’. Dech comes from a wealthy noble family, while Mek is a poor rickshaw puller who moonlights as a Muay Thai boxer to make ends meet. Unbeknownst to his family, Dech also sneaks into the same underground matches, where he befriends Mek, and their bond soon blossoms into a forbidden romance.
Despite the actors’ strong onscreen chemistry, however, the subplot feels contrived. Dech’s attraction to Mek often reads more like an act of rebellion against his snobbish, classist father Ruj (Ronnadet Wongsaroj). And though minor, Mek’s gleaming perfectly white set of teeth felt oddly out of place for an impoverished boxer.
Ronnadet Wongsaroj’s Ruj is one of the major antagonists in ‘Memoir of Rati’, constantly targeting and humiliating Rati for being the son of a Thai servant in his household. Rati was adopted as a child by Frenchman Lutin Dière (David Asavanond) and his Thai wife, and largely raised in France. So when Rati is tasked with teaching French to Thai nobles, Ruj never misses a chance to belittle him. Unfortunately, Ruj comes across as an annoying, caricature-like figure throughout the series, with little real depth to his character.
Since Rati’s profession as a French interpreter is central to ‘Memoir of Rati’, Inn Sarin Ronnakiat delivers several lines in the language. But the creators should have either trimmed these scenes or coached him further, because it’s painfully clear that he struggles with French. His delivery feels evidently rehearsed each time, clashing with the idea that his character has spent years in France and is supposed to be fluent enough to teach classes. The contrast is even starker because David Asavanond, part-French himself, delivers his French lines effortlessly, making Rati’s stilted utterances feel more like a schoolboy parroting his homework.
Theerathon and Rati’s shift from friends to lovers has its charm, their romance is filled with tender moments, and they look stunning as a pair, especially in the historical outfits. But beyond that, the narrative falters. The sluggish pacing, forgettable soundtrack, and formulaic subplots undermine what could have been a far more engaging drama. If you’ve watched the Thai historical drama ‘I Feel You Linger in the Air’, you’ll find that ‘Memoir of Rati’ treads familiar ground without offering much that feels fresh in the primary pair’s tale.
This series should’ve been eight episodes long, but is instead dragged out for 12, without delivering any powerful twists or turns, or entertaining highs and lows. If Inn Sarin Ronnakiat and Great Sapol Assawamunkong are cast together again for a romantic drama, I will watch it, and will hope it’s a lot more entertaining than this series. If you’re looking for a safe, soft, formulaic romance, this might be a decent one time watch.
Watch ‘Memoir of Rati’ on YouTube.
Read Next: Reset Review: It’s Raging Beauty Pond Ponlawit’s World!
Also Read: The Thursday Murder Club Review (Audio Version Below)
Tomb Watcher Review: A Ghost Throwing a Tantrum
Sneha Jaiswal (Twitter | Instagram)
The premise for ‘Tomb Watcher’ is fun (for a horror film): A man and his lover must spend 100 days with the corpse of his dead wife in order to inherit her large fortune. But, we never get flashbacks to when exactly the wife makes this bizarrely wicked will. And in one of the most disappointing turns, the wife’s ghost rarely traumatizes the husband, keeping her wrath reserved for the girlfriend. Not fair.
Directed by Oat Vatanyu Ingkavivat, ‘Tomb Watcher’ (สุสานคนเป็น) is set in the 1990s and stars Gap Thanavate Siriwattanagul as Chev, the central protagonist who secretly begins an affair with office worker Ros (Goy Arachaporn Pokinpakorn). His wealthy wife Lunthom (Nune Woranuch Bhirombhakdi) is increasingly absent, first consumed by work and later weakened by illness. Immediately after Ros dies, Chev takes Ros to a beautiful Bungalow away from the city for a romantic retreat, but the real plan is to look after Lunthom’s dead body for the next 100 days to get her money.
Gap Thanavate Siriwattanagul’s portrayal of Chev feels more lifeless than Lunthom’s ghost, making it hard to believe he could charm two beautiful young women. His onscreen chemistry with both co-stars is lack-luster. But to the actor’s credit, he is convincingly creepy in the climactic scenes, when he briefly gets possessed by Lunthom.
In contrast, Goy Arachaporn Pokinpakorn delivers a strong performance as Ros, despite playing the despicable “other woman.” Nune Woranuch Bhirombhakdi is spirited too, first as the betrayed wife Lunthom, and later as her vengeful ghost. Unfortunately, the special effects and makeup for Lunthom’s spirit aren’t nearly scary enough. And my biggest gripe? The ghost seems more invested in torturing Ros than punishing Chev, the guy who deserves being haunted in equal measure, if not more.
With a tight runtime of about 90 minutes, ‘Tomb Watcher’ isn’t spooky at all in its first hour, the few chilling violent scenes finally unfold in the last half-hour. Goy Arachaporn Pokinpakorn was last seen in the Thai horror-comedy ‘The Red Envelope’, which is a far more entertaining film. I’d recommend you watch that instead.
Rating: 4 on 10. ‘Tomb Watcher’ is on Netflix.
Read Next: Weapons Movie Review: Six-Act Horror Serves Slowburn Terrors
Also Read: The Thursday Murder Club Review (Audio Version Below)
‘Zen Pencils’ Review: Old Wisdom Made Fresh & Fun
Sneha Jaiswal (Twitter | Instagram)
‘Zen Pencils’ by Gavin Aung Than delivers exactly what its tagline promises: Cartoon Quotes from Inspirational Folks. I’ve enjoyed his art in the past, so when I saw it was included with Kindle Unlimited, downloading it was a no-brainer.
Most of Gavin Aung Than’s work is available on his website ‘Zen Pencils’ for free already, and this book just collects some of them. I love the creator’s cartoon-style interpretation of quotes by famous figures, ranging from ancient philosopher Confucius to physicist Marie Curie.
The most surprising inclusion in ‘Zen Pencils’ is perhaps the poem ‘Ithaca‘ by Greek poet Constantine P. Cavafy, illustrated joyously as a story filled with ships, monsters, and an epic voyage. At its heart, the classic poem reminds us not to lose sight of the joy in the journey toward our destination. And Gavin Aung Than illustrates this message with a playfully memorable touch. He makes timeless wisdom feel fresh, fun, and modern.
My only complaint with this collection is that it starts to feel a bit repetitive toward the end. Many of the illustrated quotes come across as variations of “don’t be afraid to do what you love” or reminders that persistence pays off. But well, if that’s the kind of encouragement you’re after, this little book is perfect for lifting your spirits on a gloomy day.
Ironically enough, even though I am not religious or spiritual, my favorite strip from ‘Zen Pencils’ was the following quote by Dalai Lama, when asked what surprised him most about humanity: “Man! Because he sacrifices his health in order to make money. Then he sacrifices money to recuperate his health. And then he is so anxious about the future that he does not enjoy the present; the result being that he does not live in the present or the future; he lives as if he is never going to die, and then dies having never really lived.”
I’d suggest that you go through Gavin Aung Than’s cartoons on his website, and if they put a smile on your face, then definitely grab this comic-book collection.
Rating: 5 on 5. ‘Zen Pencils’ is also on Kindle Unlimited.
Read Next: The Village of Eight Graves Review: Wickedly Rich (Audio Version Below)
September 6, 2025
‘The Summer Hikaru Died’ Episode 9 Review: More Trauma for Yoshiki
Follow us on Twitter | Instagram
Damn. Yoshiki is in some for major lifelong trauma after this episode of ‘The Summer Hikaru Died’. As if the poor boy wasn’t suffering enough! Like seriously, he sees some stuff no kid his age should be witness to. But again, this is a horror anime after all.
Quick Recap of ‘The Summer Hikaru Died’ Episode 8:Yoshiki and Hikaru dig deeper into “Nonuki-sama” and its ties to Kubitachi Village, hoping to uncover the truth about the entity inside Hikaru. At school, they witness a horrific suicide, clearly the result of possession. Later, at a restaurant, Hikaru reveals that the fragment of himself he entrusted to Yoshiki is crucial, that if it’s harmed, so is he. The episode ends on a chilling note when a dark ghost suddenly attacks Yoshiki.
Titled ‘Old Man Takeda’ Episode 9 of ‘The Summer Hikaru Died’, the edition begins with a childhood memory of Hikaru and Yoshiki visiting a grave, before the story snaps back to the present. At the restaurant, the vicious spirit attack is cut short when Kurebayashi Rie intervenes, the same maternal figure who meets Yoshiki in episode 3 and warns about the peril of staying too close to an entity like Hikaru.
Most of the chapter focuses on the boys’ continued efforts to find out more about Hikaru and the ghostly events happening in their village. Rie gives them some helpful insights, and flashbacks reveal her own dark experience.
If you remember, she had told Yoshiki about how her husband had come back changed into something sinister. But with Rie finally meeting Hikaru, she realizes (and even admits) that Hikaru is something completely different.
Overall, this episode of ‘The Summer Hikaru Died’ isn’t as emotionally charged as some of the earlier chapters; however, it does emphasize the growing symbiotic relationship between Yoshiki and the new Hikaru. The more Yoshiki learns about the entity that has descended from the mountains, the more he is unwilling to let go.
The episode’s climax unfolds at old man Takeda’s home, where the search for “Nonuki-sama” turns into a descent into pure horror. The events are terrifying, and far beyond anything Yoshiki was prepared for. What he witnesses is the stuff of nightmares, trauma so deep it could haunt him for the rest of his life.
Watch ‘The Summer Hikaru Died’ on Netflix.
Read Next: Lord of Mysteries Review: Beyonders & a ‘Beyond-My-Brain’ Pace (Audio Version Below)
Maa Review: Kajol Fights Demons and Ghastly CGI
Sneha Jaiswal (Twitter | Instagram)
Kajol playing a fierce, protective ‘Maa’ in a legend haunted, folklore horror movie? Sounds pretty great on paper. And the film opens with a beautiful, colorful celebration of Kaali puja by masked dancers in a mansion. Then begins the problem: despite being visually rich in regular sequences, the scenes with supernatural effects and demons are sub-par.
Directed by Vishal Furia, ‘Maa’ stars Kajol as protagonist Ambika, a mother forced to fight an ancient demon to protect her daughter Shweta (Kherin Sharma) from a generational curse. Much like Furia’s horror film ‘Chhorii’, this story also deals with the theme of female infanticide, although in this tale, babies are killed as ritualistic sacrifices to vanquish an ancient evil.
‘Maa’ is centered on a folk legend about a demon lurking in the dense forests of Chandrapur, a fictional village. Ambika is married to Shuvankar (Indraneil Sengupta), whose family has long been cursed, but the couple choose to distance themselves from the village and its superstitions. Fate, however, pulls Ambika back to Shuvankar’s ancestral mansion under tragic circumstances, where her daughter Shweta becomes the demon’s next target. Ronit Roy plays village chief Joydev, who helps Ambika navigate Chandrapur and its challenges.
For a horror film, ‘Maa’ has several strong elements: an intriguing folk legend, the atmospheric setting of a grand mansion, and a talented cast. Kajol delivers a layered performance as an empathetic mother who transforms into a Goddess-like warrior to save her daughter from evil. Unfortunately, the demon’s special effects are atrocious, more laughable than terrifying. It might have worked in a horror-comedy like Munjya or Stree, but not here.
And for no good reason, a village crone branded a “witch” by the locals is buried under layers of terrible makeup. Sadly, the rest of the possessed characters aren’t any better, just caked in bad cosmetics that scream cheap, not creepy. Within the first hour of ‘Maa’, the pace begins to feel overbearing, especially because it’s not scary at all. Towards the climax, the film was simply a predictable, visually jarring mess.
If you still haven’t seen ‘Tumbbad’ or ‘Kumari’, both folktale horror movies, I’d recommend you watch them instead of Maa.
Rating: 4 on 10. ‘Maa’ is available on Netflix.
Read Next: Weapons Movie Review: Six-Act Horror Serves Slowburn Terrors
Also Read: The Thursday Murder Club Review (Audio Version Below)
September 5, 2025
‘The Conjuring: Last Rites’ Review: Slow, Scant on Spooks, High on Sentiments
Sneha Jaiswal (Twitter | Instagram)
The 2025 horror film ‘The Conjuring: Last Rites’ makes little pretense of being anything other than an emotional farewell to the Warrens, the paranormal duo whose cases inspired one of the world’s biggest horror franchises. And while the Warrens get a soaring goodbye, the scares are overshadowed by sentiment.
Directed by Michael Chaves (‘Conjuring: The Devil Made Me Do It’, ‘The Nun II’), the film sees Vera Farmiga and Patrick Wilson reprise their roles as Lorraine and Ed Warren for the final haunting of their careers. Mia Tomlinson plays their 22-year-old daughter Judy, while Ben Hardy portrays her boyfriend Tony Spera.
‘The Conjuring: Last Rites’ opens in 1964, where a much younger Ed (Orion Smith) and a heavily pregnant Lorraine (Madison Lawlor) visit an eerie antique shop and encounter a powerful demonic mirror. Cut to 1986, and the same mirror ends up with a family of eight in Pennsylvania, where ghostly entities begin tormenting the entire household. Even though the Warrens have retired, they are forced to help the Smurl family at their daughter Judy’s insistence.
As newcomers, Mia Tomlinson and Ben Hardy bring warmth to this horror tale, and the amount of screen time they receive hints that their characters may be poised to inherit the Warren mantle. Tomlinson is compelling as a young woman unraveling under demonic visions, balanced by Hardy’s dependable presence as the partner who never wavers. Vera Farmiga and Patrick Wilson remain dependable as the paranormal investigators, and the ‘protective parents’ sub-plot makes their characters more nuanced.
Ironically, the film’s strongest moments aren’t the supernatural scares (which are surprisingly sparse) but the everyday family dynamics: the noisy dinner-table scenes at the Smurls, or Tony’s painfully awkward efforts to impress Judy’s parents, especially the ever-skeptical Ed. For a more effective “haunted mirror” horror, Mike Flanagan’s ‘Oculus‘ (2013) remains far scarier, while ‘Last Rites’ recycles familiar Conjuring tropes which frankly feel slightly stale.
Of course, part of the fun lies in the nostalgia: spotting familiar elements from earlier films, like the Warrens’ infamous occult museum. “Don’t touch anything. Everything you see here is either haunted, cursed, or tied to some ritualistic practice. Nothing’s a toy. Not even the toys,” Ed warns memorably in this installment, just as the camera lingers on the ghastly Annabelle doll.
Only in the second half does the haunting truly escalate, with Ed, Lorraine, Judy, and Tom gathered for the climactic exorcism. But what should have been terrifying instead plays out like a family affair, robbing horror fans of a truly terrifying experience. The special effects are mediocre at best, the ghostly entities overtly garish, making them more laughter-inducing than scream-inducing. Despite being such a successful franchise, it’s ridiculous that the creators still refuse to invest in delivering better VFX.
‘The Conjuring: Last Rites’ may stumble with pacing and recycled scares, but it earns points for giving the fictional Warrens a warm, memorable goodbye.
Rating: 6 on 10. Watch ‘The Conjuring: Last Rites’ in theaters.
Read Next: Weapons Movie Review: Six-Act Horror Serves Slowburn Terrors
Also Read: The Thursday Murder Club Review (Audio Version Below)
