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‘The Nun II’ Review: Back in the Habit

The latest installment in the “Conjuring” franchise continues a formula of frights with a splash of religious world building.

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By Claire Shaffer

Jump scares abound in “The Nun II,” a sequel to the 2018 film , which was itself a spinoff of the “Conjuring” franchise. It continues the misadventures of Sister Irene (Taissa Farmiga) and the demonic force Valak (Bonnie Aarons).

This time, the call is coming from inside a house of religious education. While investigating a string of murders across Europe, Sister Irene posits that Maurice (Jonas Bloquet), or Frenchie, as he’s known — her farm boy companion from “The Nun” — may have become possessed by the demon force and, if so, is unknowingly harboring it at the Catholic boarding school in France where he now works. It’s up to Sister Irene and her new companion, a skeptical novitiate named Sister Debra (Storm Reid), to race over and stop the demon before it unleashes its full horrors.

The pacing of the film, set in the 1950s and directed by Michael Chaves, is too neat: It runs like haunted clockwork, shoving characters down dark alleyways or abandoned chapels every five minutes with little justification. Scene after scene builds fear and tension, and then a monster appears, and then … not much else, in most cases.

Not everything in “The Nun II” is centered on screams. There’s also a good deal of lore involving Saint Lucy, patron saint of the blind, plus a holy relic that might point to Sister Irene’s ancestral origin. Maybe this is the sort of intricate world building that avid watchers of the “Conjuring” movies are deeply invested in. Or maybe — if the gasps and guffaws I heard in my theater are any indication — audiences are mostly there to watch a headmistress being bludgeoned to death by a thurible.

The Nun II Rated R for ecclesiastical violence. Running time: 1 hour 50 minutes. In theaters.

Review: Less creepy than sleepy, ‘The Nun II’ proves to be an easy habit to break

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How about another round of religious trauma, the movie? Five years after “The Conjuring” Universe spinoff “The Nun” glowered its way to huge box office numbers (becoming the highest-grossing entry of the entire franchise), the imposing sister is back in “The Nun II,” this time directed by Michael Chaves, who helmed the latest CU installments “The Curse of La Llorona” (2019) and “The Conjuring: The Devil Made Me Do It” (2021).

In the original “The Nun,” set in 1952, a young novitiate, Sister Irene (Taissa Farmiga) travels to Romania to battle the demon Valak at St. Cartha’s monastery. Director Corin Hardy and cinematographer Maxime Alexandre brought an operatic gothic horror style to the movie, which was light on story but heavy on jump scares. In “The Nun II,” set four years later in 1956, Sister Irene tangles with the demon again, this time at a French boarding school. Chaves and cinematographer Tristan Nyby bring some cool visuals again, but the film is sorely lacking in suspense — it’s an utter snooze.

The problem is that Chaves is way too liberal with his monsters, ghouls and demons, showing us way too much, too soon — a classic horror-filmmaking blunder. The camera lingers on long, leisurely looks over the scary thing or just blatantly shows us which otherwise mundane object will soon become animated by evil forces.

Almost every scene in the movie unfolds in the same way: Some quivering poppet (altar boy, delivery girl, student) goes wandering into a dusty old space (rectory, cellar, chapel) and has the bejesus scared out of them by some crashing thing (wine jug, window, statue) and the spooky face of the creepy nun demon (Bonnie Aarons, we salute you). Lather, rinse, repeat. It’s actually shocking how many times this same scenic formula plays out in “The Nun II,” and never with any spectacular payoff.

In following Sister Irene, reluctant exorcist, the bones of an interesting story are there, especially as they dive into her past and the reasons why she’s able to tackle such demonry. The screenplay is by Ian Goldberg, Richard Naing and Akela Cooper , the last who has brought her own uniquely bonkers sensibility to films like “Malignant” and “M3GAN.” But there’s no wacky nunsploitation fun to be found in “The Nun II.”

Farmiga is a wonder to watch, delivering an earnest, guileless performance of Sister Irene that mirrors the performance of her own sister, Vera Farmiga, who plays the similarly psychically gifted Lorraine Warren elsewhere in the series (“The Nun” movies are prequels to “The Conjuring” films). In this sequel, she’s assisted by another, rather skeptical sister, Debra (Storm Reid), who tags along to see a miracle, and gets more than she bargained for.

The Conjuring Universe is most frequently about faith, seeing and vision, both physically and psychically. In the best installments — usually directed by James Wan — the film form and camera mimics the process of human sight,harnessing vision as a way to build terror (e.g. “The Conjuring 2,” the best of them). Chaves either doesn’t have the ability to pull this off, or he doesn’t have the interest in it, which makes the themes of seeing and believing fall flat, even when he’s handed the perfect opportunity to explore those ideas in the script for “The Nun II.”

Instead, “The Nun” movies are less about faith and more about women in relationship to religion: women’s intuition, the iconography of women in Catholicism, the evil that women can visit upon each other on the mortal plane and the spiritual, the inner emotional strength of women and their weaknesses, embodied here in hunky handyman Maurice (Jonas Bloquet), who saved Sister Irene in the first movie, and still carries their experience with him.

But reaching for meaning in “The Nun II” is as fruitful as a wander down a dark and dusty hall. You’ll find things that go bump in the night but not much else underneath the doom and gloom.

Katie Walsh is a Tribune News Service film critic.

'The Nun II'

Rating: R, for violent content and some terror Nunning time: 1 hour, 50 minutes Playing: Opens Sept. 8 in wide release

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'The Nun II' Review: The Strongest Addition to 'The Conjuring' Franchise Outside the Core Movies

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This review was written during the 2023 WGA and SAG-AFTRA strikes. Without the labor of the writers and actors currently on strike, the film being covered here wouldn't exist.

Eight movies in, you might expect a franchise to start getting stale, but The Conjuring is the most successful horror franchise to date — having grossed a combined $2.1 billion dollars at the box office — and The Nun II is here to double down on everything that keeps genre lovers coming back to these films over and over. A direct sequel to The Nun , this film picks up five years later, finding Sister Irene ( Taissa Farmiga ) at a new convent in France, having effectively escaped the demon Valak ( Bonnie Aarons ) assuming she'd sent it back to hell. However, when key figures of the church start mysteriously dying, it appears that the demon has returned. When a Cardinal calls upon Irene as the only surviving member of the church capable of defeating such an evil, she's thrust back into a life she thought she'd escaped.

The Nun II is an effective, gory, and impressively scary addition to the Conjuring universe that adds depth to the existing canon while also delivering a solid possession movie that stands up all on its own. Based on a story by Akela Cooper , from a script written by Cooper, along with Ian Goldberg and Richard Niang , The Nun II is miles better than its predecessor with pacing that moves along at a biting pace and keeps audience members on their toes. The patient, pulse-pounding scares are evenly balanced with lighter moments and even a sprinkling of comedy here and there. Cooper's presence is all over this movie, and this is another excellent entry into her complete mastery of the horror genre. Having previously penned scripts for instant classics, Malignant and M3GAN , Cooper has rapidly become an incredibly exciting name to see in the credits of a horror movie. The Nun II benefits a lot from its tight script which effectively plants seeds all through Act One that come to fruition in Act Two. Cooper, Goldberg, and Niang set up the film's epic climax quite naturally, with pieces falling into place before you even realize they're part of the film's ultimate puzzle. The audience is given just enough clues to begin solving parts of the unfolding mystery without feeling obvious or heavy-handed.

'The Nun II' Possesses Audiences With Powerful Practical Effects

Michael Chaves , who previously helmed The Conjuring: The Devil Made Me Do It , returns to the director's chair and adds a much-needed breath of fresh air into the Nun films. Despite its success at the box office, The Nun is arguably one of the more lackluster entries in the Conjuring franchise, with a slow story and somewhat underwhelming scares. Blessedly, its sequel shows none of those weaknesses. Along with Cooper's well-paced script, Chaves adds a level of warmth to the project that was sorely missing from its predecessor. The characters and their relationships feel a great deal richer in this film. Charming flashbacks and achingly emotional performances fill this branch of the franchise up with a level of heart that has seldom made it into the Conjuring movies outside the main trilogy — not you Annabelle Comes Home , you've never done anything wrong.

RELATED: ‘The Nun’ Recap: Everything To Remember Before Valak Haunts Again in the Sequel

On top of that richness, The Nun II also delivers several heart-pounding scares that will have audience members flinging popcorn across the theater. While one of the major criticisms of The Conjuring: The Devil Made Me Do It was that it wasn't scary enough, The Nun II is a much better show of how Chaves carefully builds tension so that the rubber band snap of terror is that much more effective. Chaves also makes good use of a wildly impressive number of practical effects in this film, giving it that old-school feel while pulling off scares that will have audiences wondering, "How did they do that?"

One of the most impressive, which has been teased in the trailers leading up to the film's release, is the scene when Valak attacks Sister Irene from the pages of a newsstand. In a conversation with Collider's Perri Nemiroff, Chaves revealed that a majority of that particular scare was done in-camera, with some a helping hand from visual effects to get it across the finish line. After proposing the concept for this moment, Chaves said, "Everybody was like, 'How are we gonna do that?' I thought, 'Well, we should just do it all in-camera. We should print all these magazines and then mechanically rig them all to turn, and we blow some with wind, and then some of them are a little bit more controlled.'" That hard work pays off in the film, as it steadily builds beyond what can be seen in the trailer.

The Nun II also features some pretty epic set pieces. The final battle, which takes place in an old monastery turned winery turned boarding school, has characters fighting for their lives as the floors give way beneath their feet. The way that Chaves films these scenes makes the viewer feel as though they are on a twisted amusement park ride akin to something out of Halloween Horror Nights. While it may seem out of place to some, as a self-professed rollercoaster lover, it brought me to the edge of my seat. The final act of The Nun II also introduces a new monster conjured up by Valak, to terrorize the young girls at the boarding school. Playing on centuries-old satanic lore, this grotesque new figure is a chilling addition alongside the likes of Valak and Annabelle, and while he may not need his own spin-off, viewers will be hard-pressed to shake his horrific visage.

Chaves also pays homage to many past scares and other visual elements from the franchise. The newspaper stand scene alone parallels the opening scene in The Conjuring 2 in which Lorraine Warren ( Vera Farmiga ) is first attacked by Valak. The Nun II uses multiple visual cues like this to link Sister Irene and Lorraine and finally reveals exactly how the two are connected — beyond being played by real-life sisters, of course. Through both the use of previous footage and cleverly explored lore, The Nun II bridges together formerly disparate parts of the Conjuring franchise in a way that'll have fans itching to rewatch past entries.

Taissa Farmiga Leads a Talented Cast in 'The Nun II'

The Nun II introduces several new characters, and while we don't get a lot of backstory on most of them, the well-written script gives each of them an impressive amount of depth in under two hours. The entire cast delivers lived-in performances that really make the movie come to life. Returning from the first Nun film, Jonas Bloquet plays Frenchie with renewed charm and charisma that serves as a thin veneer to his tortured soul making the ultimate heartache that his life is headed for — as established in The Conjuring — something much more painful. In this movie, Frenchie strikes up a romance with a schoolteacher named Kate ( Anna Popplewell ) and he's made even more endearing to the audience by his sweet, protectiveness of her daughter Sophie ( Katelyn Rose Downey ). Downey is a great standout, with the makings of a future genre star, she delivers an emotional and genuine performance.

Another fantastic standout is the addition of Storm Reid as Sister Debra. Having previously told Collider that her character "adds some funkiness to the story," Reid does just that and it makes her a welcome addition to the Conjuring universe. Sister Debra serves as the skeptic to Sister Irene's believer — a tried and true dynamic within the horror genre — and she is able to add some moments of levity to the film while also going on her own journey of self-discovery. Meanwhile, Taissa Farmiga delivers one of her best performances to date, further establishing herself as a formidable scream queen. Threading the needle between the soft, tender-hearted nun she strives to be, and the incandescent adversary worthy of taking on one of hell's most evil demonic forces, Farmiga really gets to flex her range in The Nun II . There are also moments of vulnerability for Sister Irene in which she proves that no one cries on camera like the Farmiga sisters.

Without giving anything away, The Nun II adds some deep lore to the Conjuring franchise that brings the whole universe together in an inventive and engaging way, and audiences will want to stick around through the end-credits scene to take in every piece of those connections. With its tight script, well-balanced characters, and bone-chilling scares, The Nun II is the first Conjuring spinoff operating at the same caliber as the franchise's core films, proving that this universe is far from played out.

The Big Picture

• The Nun II is an impressive addition to the Conjuring franchise, delivering scares, humor, and a tight script that keeps audiences engaged.
• Director Michael Chaves brings a breath of fresh air to the sequel, with improved pacing, richer characters, and heart-pounding scares.
• The film features practical effects and epic set pieces that add to the overall intensity, while also paying homage to past scares in the franchise. Taissa Farmiga delivers a standout performance as Sister Irene.

The Nun II premieres in theaters September 8.

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‘The Nun II’ Review: Horror Sequel Conjures Up A Winning Tale Of Terror

Valak returns as the titular sinister sister in 'The Nun II.'

The Nun II lands in theaters five years and a handful of days after the first film. While The Nun became the highest-grossing entry in the $2.1 billion The Conjuring Universe , critics mauled it, and it accrued the lowest Rotten Tomatoes score of any film in the franchise.

This ninth entry in the series, which kicked off a decade ago, sees filmmaker Michael Chaves take on directing duties. He's no stranger to the film series, having helmed 2021's The Conjuring: The Devil Made Me Do It and 2019's The Curse of La Llorona .

The big question is, can he deliver a sequel to a spin-off of The Conjuring 2 's antagonist that delivers the goods, makes money, and lands better with critics and audiences?

Set in 1956, four years after the events of The Nun , Sister Irene, played by Taissa Farmiga, is in a new convent, and all seems good. However, overhearing some of her fellow sisters telling the story of what happened brings it flooding back. Not long after, Sister Irene has a visitor who informs her that there has been a trail of supernatural slayings of priests and nuns that appears to have started in Romania, the location of her last showdown with Valak, the titular demonic entity.

Fearing that the evil might not have been extinguished as initially believed, it is her job to find out what connects the killings, where the nightmarish nun is headed, what the entity wants, and if she is somehow connected to everything that has been going on. Before too long, Sister Irene finds herself at a boarding school that harbors darkness and also happens to provide sanctuary and employment for Maurice, her savior, in the battle with the satanic sister a few years earlier. The school is where Sister Irene will lead the ultimate face-off against Valek to send the demon back to hell once and for all. Maybe.

The excellent Farmiga isn't the only returning cast member. Bonnie Aarons reprises her now iconic role as the unholy Valek, and Jonas Bloquet returns as Maurice, aka Frenchie. Joining the cast is the always-engaging Storm Reid as Sister Debra, an American sent to Sister Irene's convent by her family, who becomes Sister Irene's companion as they try to solve the sinister mystery. Another familiar and welcome face in the cast is Anna Popplewell, perhaps best known for playing Susan Pevensie in the Chronicles of Narnia trilogy.

The Nun II delivers more of everything, from fuller characterization to a richer and more complex narrative through gore, effective but never extreme, and scares. The sequel feels like a complete package and a much more solid movie than The Nun , which had the unenviable job of taking another film's villain, who was a last-minute addition to the film that introduced it. The Nun walked (or floated) so that The Nun II could walk, and, if anything, the building on the foundation will hopefully make the audience lukewarm on the previous installment look on it more favorably. The Nun II would not be able to be the movie it is had that not been laid.

As an evolving filmmaker, Chaves, the only director to helm three entries in the franchise, has also come a long way from his previous Conjuring Universe projects. The Nun II is a clear movement towards the peak of a learning curve for him. Here, he utilizes and refines his experiences from the other movies while mixing them with the lore played out in The Nun to create this gripping and tense, unholy trinity of terror. As a director, it's his most accomplished work from the franchise and should appease those not enamored by his previous efforts.

Taissa Farmiga faces fear in all its forms as Sister Irene in 'The Nun II.'

A significant win for the Chaves is how, together with cinematographer Tristan Nyby, there is a distinct and confident embrace of the gothic often associated with European horror from Italian Giallo movies and even Hammer. Throughout The Nun II 's one-hour and 50-minute runtime, some moments genuinely benefit from the willingness to lean into the visual tropes and elevate them instead of softening or sanitizing them to play it safe. The manifestation of the devil in a particular form is a specifically compelling and chilling moment. Chaves treats the audience like adults. They're almost like flourishes to enhance the experience for the casual film fan but morsels for those looking for something more in their mainstream entertainment. Everyone wins, including the cast who get to inhabit it.

The Nun II is one of the better films in the Conjuring Universe and certainly one of the best spin-off features in the series. Well-constructed, deftly executed scares and a few creative choices that elevate even the more expected frights make this a winner overall. Not only does The Nun II cement Valek as a titan of terror who fills the film's dark heart, but the character feels more fully realized than ever beyond just looking cool and creepy. If this isn't the last audiences have seen of the demonic nun (or whatever form the fallen angel decides to take), as a mid-credit sequence suggests, that's not a bad thing. Amen to that.

The Nun II Review: The Conjuring Universe Properly Kicks Off Spooky Season 2023

A positive addition to the conjuring universe's legacy..

While not as expansive as the Marvel Cinematic Universe , The Conjuring Universe has grown into quite the sprawling, complicated canon over the last decade. There wasn’t a big franchise plan at the outset, with director James Wan ’s original Conjuring made as simple “based on a true story” horror movie about a reported case of a haunting in the early 1970s, but the continuity has grown thanks to audience reaction and passion – with direct follow-ups to the main series made alongside spinoffs about the movies’ standout protagonists.

Release Date:  September 8, 2023 Directed By:  Michael Chaves Written By:  Ian Goldberg & Richard Naing, and Akela Cooper Starring:  Taissa Farmiga, Jonas Bloquet, Storm Reid, Anna Popplewell, and Bonnie Aarons Rating:  R for violent content and some terror Runtime:  110 minutes

Reflecting back on the sequel-happy 1980s that nearly killed the horror genre, you might think that building out this world would be a tricky enterprise tempting disaster, but the truth of the matter is that the Conjuring canon has developed a surprising and positive track record when it comes to second and third stories. The Conjuring 2 is better than The Conjuring ; both Annabelle Creation and Annabelle Comes Home are superior to Annabelle ; and now director Michael Chaves has kept the pattern going by making The Nun II significantly better than The Nun .

The new movie does have some struggles that extend directly from its place in the canon, as its timeline positioning as a prequel does have a negative impact on the stakes, but it finds success thanks to its strong main characters, a compelling mystery, and more than a few big time frights. It builds on the story that came before it, and while not delivering the most satisfying ending in the Conjuring Universe, it doesn’t leave a bad taste that spoils the ride.

Set in 1956 (four years after the events in The Nun and 12 years before the events in The Conjuring ), The Nun II catches up with Sister Irene (Taissa Farmiga) as she attempts to live a quiet life in a new convent – not letting anyone know about her past battle with the habit-wearing demon known as Valak (Bonnie Aarons). She is happy and mentoring a novice named Sister Debra ( Storm Reid ), though her peace is interrupted when she is informed by an elder at the church that she must help aid in an investigation.

In the time since Irene’s first confrontation with Valak at Saint Cartha's monastery in Romania, a demonic force has been moving from that location westward through Europe, and given her past experience, Irene is tasked with figuring out what’s happening. With Debra coming along as support, the protagonist makes her way to Tarascon, France where a priest has been immolated on his own alter and she begins her search for answers.

While Irene works to figure out what’s going on, however, we already know: Maurice a.k.a. “Frenchie” (Jonas Bloquet), who helped Irene defeat Valak in Romania, left that confrontation possessed by the demon and has been unknowingly spreading evil ever since. He ends up getting a job as a groundskeeper at an all-girls school in Aix En Provence, France and starts to find some happiness for himself – but Valak has its own reasons for wanting to be there, and Sister Irene must figure out why before it’s too late.

An exciting mystery unfolds in The Nun II, but the third act has canon issues.

While The Nun is a movie that never fully pops because of its simplicity, the sequel draws you in with its parallel plot lines and capitalizes on its intriguing characters. You’d think that knowing that Maurice is possessed and at the center of all the bad things that are happening would undercut mystery and tension on both sides of the story, but the script is most clever in the way in which it molds itself around that knowledge. On the Irene and Debra side of the story, we may know more than they do about the location of the evil they’re searching for, but their investigation is compelling because they are not only looking for Valak, but also what Valak is after (a search that ultimately adds some cool, fresh mythos to the canon). As for Maurice, he is wholly unaware himself that he is “with demon,” and that ignorance keeps the door wide open for terror at the school where he works/lives.

The screenplay for The Nun II , credited to Ian Goldberg & Richard Naing and Akela Cooper, is more nimble and adventurous than you’d expect – though it also can’t quite solve what feels like an inevitable stakes problem in its third act. The movie suffers from unique prequel/sequel existence: fans of The Conjuring Universe already know what the future holds for both Maurice and Valak thanks to The Nun , The Conjuring and The Conjuring 2 , and the new film can’t quite find a way to both wrap up its own story and dovetail with existing continuity. Admittedly there isn’t anything featured that a theoretical The Nun 3 couldn’t fix, but it holds The Nun II back from wrapping up neatly and leaves timeline messiness in its wake.

The Nun II delivers big scares with creative setup and execution.

The film marks the third time that Michael Chaves has delivered an installment of this franchise, following The Curse Of La Llorona and The Conjuring: The Devil Made Me Do It , and his growth as a director is evident, as The Nun II is his scariest movie yet. It kicks off with a bang – some simple audience teasing quickly escalating to some fiery, unholy death – and it keeps the horror flowing throughout. It doesn't keep you on your toes at all times, as the movie makes obvious efforts to tee up its biggest sequences, but even when you’re properly braced for what’s coming, you still get a jolt, and there’s plenty of creativity to appreciate (some of the highlights including some page-flipping eerie-ness at a magazine stand and excitement inside an abandoned chapel). Without giving away too much, Valak isn’t the only monstrous horror in the film’s third act, and it’s a freaky delight.

After 10 years and nine films, The Conjuring Universe has one of the strongest track records in horror movie history, and The Nun II contributes positively to that legacy. While there are worse examples of it in 2023 alone, the movie does suffer a bit from being a middle chapter, as it feels held back by its own canon in some respects, but it certainly capitalizes on a wonderful protagonist in Taissa Farmiga’s Sister Irene and serves up a sweet dose of scares to kick off spooky season.

Eric Eisenberg is the Assistant Managing Editor at CinemaBlend. After graduating Boston University and earning a bachelor’s degree in journalism, he took a part-time job as a staff writer for CinemaBlend, and after six months was offered the opportunity to move to Los Angeles and take on a newly created West Coast Editor position. Over a decade later, he's continuing to advance his interests and expertise. In addition to conducting filmmaker interviews and contributing to the news and feature content of the site, Eric also oversees the Movie Reviews section, writes the the weekend box office report (published Sundays), and is the site's resident Stephen King expert. He has two King-related columns.

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The Nun 2 review: a louder, occasionally scarier sequel

“The Nun 2 is a more assaultive, in-your-face horror film than its 2018 predecessor, but it still falls short of the Conjuring franchise's best, James Wan-directed installments.”

• An arresting prologue
• A memorable, intense midpoint chapel sequence
• Taissa Farmiga's likable lead performance
• The film's best sequences have a tendency to end in a lackluster fashion
• An uneven, exposition-heavy screenplay
• Numerous flat supporting characters

The Nun 2 begins, as it should, in the darkened halls and stairwells of a church. The year is 1956. The country is France. The religion is definitively Catholic. These details all come quickly, with the film spending its opening moments with a young altar boy who has unknowingly caught the attention of Valak (Bonnie Aarons), the demon that has been masquerading as a malevolent nun onscreen ever since 2017’s The Conjuring 2 . Before long, Valak is actively terrorizing its latest target — resetting his stool when he’s not looking and rolling his soccer ball back at him from the other end of a long, seemingly endless corridor.

In these moments, director Michael Chaves expertly and patiently ratchets up the tension — stretching out the moments of silence between Valak’s attacks until you can barely stand it. By the time the scene-stealing demon has finally shown its unnaturally chalk-white face, The Nun 2 has already reached greater heights than its 2018 predecessor. However, in a misguided attempt to inspire shock and fear, Chaves goes bright and loud — punctuating the film’s otherwise impeccable prologue with a fiery exclamation mark that doesn’t leave one nearly as shaken as all the moments of quiet, pungent dread that precede it.

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The Nun 2 ’s opening establishes a cycle of diminishing returns that the film itself refuses to deviate from. There are flashes of near-silent, bone-chilling horror brilliance scattered throughout the latest installment of Warner Bros.’ ever-growing Conjuring Universe , but they’re almost always followed by images of blunt-force violence that do nothing but dull the impact of its sharpest moments.

Unlike The Nun , which is set almost exclusively in early 1950s Romania, the new sequel spends most of its time in France. Picking up four years after the events of its parent film, The Nun 2 finds Sister Irene (Taissa Farmiga) living a quiet life at a countryside convent where she has become fast friends with Sister Debra (Storm Reid), whose rebellious streak and struggles with her own Catholic faith have made her a nuisance for the rest of their Holy Sisters. Irene’s peaceful existence is disrupted, however, when she’s ordered to investigate a trail of religious murders spanning a not-insignificant portion of Western Europe.

Irene’s mission leads her and Debra to a French boarding school where her former friend and savior, Maurice (Jonas Bloquet), has started a new job as a handyman. Unbeknownst to them, Maurice didn’t make it out of his and Irene’s previous encounter with Valak as free as they’d thought. Instead, he has become a vessel for the demon, who uses him to carry out a series of murders and frightful encounters as part of a search for a Christian relic that could make Valak even more powerful. Structurally, The Nun 2 spends most of its runtime planting the seeds for Sister Irene and Maurice’s eventual reunion — bouncing between sequences of pure horror involving the latter character and the moments of research carried out by Farmiga’s clear-eyed heroine, who also experiences a few ominous visions along the way.

The film’s script, penned by Ian Goldberg, Richard Naing, and M3GAN writer Akela Cooper, struggles to strike an even balance between its two halves. Its pacing sags throughout its second act, which has a habit of becoming so focused on explaining its eponymous villain’s actions and expanding the religious lore surrounding both Valak and Sister Irene that it fails to remain as consistently scary or atmospheric as one would like. While the purpose of Irene’s supernatural visions becomes increasingly clear over the course of the film’s runtime, too, only one of them packs much of a punch. The rest feel largely superfluous, especially given how long it takes for the character to piece together the clues that will lead her back to Maurice and, by extension, his demonic possessor.

Michael Chaves, whose previous credits include The Curse of La Llorona and The Conjuring: The Devil Made Me Do It , brings a punchier touch to The Nun 2 than his predecessor, Corin Hardy. However, he fails to replicate the power that James Wan created with Valak’s debut in The Conjuring 2 . Not only does Chaves’ camera wander, pan, and travel less than Wan’s, but it also lacks the maximalist, full-throated energy that makes the first two Conjuring movies so impactful. In general,  The Nun 2 is missing the kinetic energy of The Conjuring 2 , which renders Valak more terrifying than either of the character’s solo movies.

To his credit, Chaves does make the most of The Nun 2 ’s quieter set pieces, including one late-night journey through a destroyed chapel that is masterfully paced, shot, and edited. When the film’s script allows it to abandon some of its own restrictive logic and go absurdly big in its third act, Chaves also frames Irene’s final battle with Valak in a way that emphasizes its scale without sacrificing the spatial awareness needed to keep up with it. Farmiga, meanwhile, again manages to imbue Sister Irene, a potentially one-note character, with enough humanity to effectively ground The Nun 2 ’s outsized plot.

The film’s other performers don’t get the same chance. Even Reid’s Sister Debra is set up to be a more complex character than she actually proves to be. The flatness of The Nun 2 ’s supporting heroes is, unfortunately, emblematic of many of the film’s problems. Ultimately, it’s a horror movie that knows how to light a fuse and let it burn, but it struggles to deliver pay-offs that are as satisfying, shocking, or scary as they should be. As far as horror movies go, it’s the big-screen equivalent of a box of 99-cent party snaps. It’s loud and explosive, sure, but the scorch marks it leaves behind are negligible at best.

The Nun 2 is now playing in theaters. For more details about the movie’s conclusion, please read The Nun 2 ‘s ending, explained .

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If you're just coming back from seeing The Nun 2 in theaters, or if you're waiting for its inevitable streaming debut, then you don't have to wait to watch something else that can give your horror fix. The trope of malevolent female ghosts or demons is actually pretty common, and it's certainly fitting in this case. But those weren't the only factors we had in mind when putting together this list of similar movies. Sometimes, the themes and tone of horror films are a more effective way to find alternatives than simply looking for movies with the exact same premise.

So for anyone who is looking for a scare in the comfort of your own home, these are the five horror movies like The Nun 2 that you should watch. The Curse of La Llorona (2019)

This year marks the 10th anniversary of the birth of The Conjuring universe, and it's become one of the biggest horror movie franchises of all time. To date, there have been nine movies, including three Conjuring flicks, three Annabelle films, the standalone story The Curse of La Llorona, and now, two Nun movies. The Nun hit theaters in 2018, and now, The Nun 2 has finally arrived.

Taissa Farmiga reprises her role as Sister Irene, one of the few who survived the previous encounter with the demonic Nun (Bonnie Aarons) in the first film. Unfortunately, Irene has no idea that her friend, Frenchie (Jonas Bloquet), has been possessed by the Nun, whose real name is Valak. The sequel occurs in France in 1956, as Irene receives a troubling vision about Valak's return. Irene soon finds herself in a race against time to prevent Valak from obtaining an ancient relic.

Warning: This article contains major spoilers for The Nun 2 (2023).

The Nun 2 begins four years after the events of its predecessor. When it picks back up with Sister Irene (Taissa Farmiga), she’s taken to living a peaceful life in a countryside convent. Her peace is disrupted by the return of her former, thought-to-be-vanquished demonic foe, Valak (Bonnie Aarons), whose recent killing spree through Western Europe has caught the attention of the Catholic Church.

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The Nun II Reviews

Michael Chaves's 'The Nun II' explores the past involving the demon Valak from horror folk. However, the script does not contribute significantly to the mythology of the titular creature or the characters surrounding it. [Full Review in Spanish]

Full Review | Original Score: B- | Dec 16, 2023

Sometimes there is a virtue in simply being charming nonsense.

Full Review | Original Score: 7/10 | Dec 7, 2023

The Nun II might be a slight step up from the slog that was The Nun, but that’s a low bar to creep up from.

Full Review | Original Score: 2/5 | Nov 17, 2023

Does not claim that its storytelling integrity is more important to it than providing a nice, rickety old thrill ride of bumps and shocks.

Full Review | Original Score: 3/5 | Nov 14, 2023

It settles for a half-baked story and the same old never-ending series of cheap, lazy, and ineffective jump scares, ultimately making this sequel an even more forgettable horror outing than the original.

Full Review | Original Score: 2/5 | Nov 13, 2023

Director Michael Chaves (The Conjuring: The Devil Made Me Do it) starts the film with plenty of energy and continues the pacing throughout the duration of the movie.

Full Review | Original Score: 3.5/5 | Nov 12, 2023

The Nun 2 isn't as compelling as the first installment, and feels a bit scattered, but it serves as a worthy sequel that expands on the demonic lore, adding in some new jump scares.

Full Review | Original Score: B- | Nov 9, 2023

You’ll lose your faith in this movie before you’re even halfway through it.

Full Review | Oct 27, 2023

From the first scene to the last, this director proves to have the skills for a better screenplay. [Full review in Spanish]

Full Review | Oct 24, 2023

Despite some effective scares, The Nun 2 offers stereotypical scares and a story that lacks any real urgency and is bogged down in over explanation.

Full Review | Original Score: 2/5 | Oct 6, 2023

Despite the scares being a tad repetitive, they are made and photographed well, meanwhile, the special effects are first-rate. [Full review in Spanish]

Full Review | Oct 5, 2023

...the movie segues into a seriously (and typically) stagnant midsection almost entirely devoid of attention-grabbing, compelling attributes...

Full Review | Original Score: 1/4 | Oct 1, 2023

There are certain moments from the original The Conjuring that have stuck with me for a decade and counting. I’d be surprised if I remember anything from The Nun II within the next couple of weeks.

Full Review | Sep 29, 2023

Leveraging girl’s school games, gothic locations, and a few decently disturbing moments, Michael Chaves finally delivers the goods missing in his previous Conjuring Universe efforts… even enough to forgive another in a long line of misdirection McGuffins.

Full Review | Original Score: 3/4 | Sep 28, 2023

While the story is lackluster and poorly told, the film delivers the jump scares and creepy imagery that fans of this franchise have come to expect. The Nun II is an effective thrill-ride and little else.

Full Review | Original Score: 3/5 | Sep 27, 2023

The Nun II is one is one of my genuine surprises of 2023. It is a film that is not only going to be embraced by fans of The Conjuring universe but is going to be universally loved by horror fans as a whole.

Full Review | Original Score: 3.5/5 | Sep 24, 2023

The Catholic horror wheel isn’t reinvented, but the jump scares are so nonstop and occasionally clever that I was left wondering: is this the most fun I’ve had at the movies all summer?

Full Review | Sep 22, 2023

Taissa Farmiga returns as Sister Irene for cloistered encounters of the second kind. Darker and more frightening than its predecessor. The gothic atmosphere and shadowy glimpses of the terrifying nun make for the perfect horror atmosphere.

Full Review | Original Score: 3/4 | Sep 22, 2023

Well made, entertaining, scary Nun of the above.

Full Review | Original Score: 4/10 | Sep 21, 2023

…The Nun films seem to be successful even as the over-arching Conjuring narrative sputters, largely because they deliver such visually imaginative shocks, even if the connective tissue between the visuals turns out to be rather unimportant…

Full Review | Original Score: 3/5 | Sep 20, 2023

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Movie Review: Nothing too scary about ‘The Nun II’

How about another round of religious trauma, the movie? Five years after “The Conjuring” Cinematic Universe spinoff “The Nun” glowered her way to boffo box office numbers (the highest grossing in the successful franchise), the imposing sister is back in “The Nun II,” this time directed by Michael Chaves, who helmed the latest CCU installments “The Curse of La Llorona” (2019) and “The Conjuring: The Devil Made Me Do It” (2021).

In “The Nun,” set in 1952, a young novitiate, Sister Irene (Taissa Farmiga) travels to Romania to battle the demon Valak at Saint Cartha’s monastery. Director Corin Hardy and cinematographer Maxime Alexandre brought an operatic Gothic horror style to the movie, which was light on story but heavy on jump-scares. In “The Nun II,” set four years later in 1956, Sister Irene tangles with the demon again, this time at a French boarding school. Chaves and cinematographer Tristan Nyby bring some cool visuals again, but the film is sorely lacking in scares and suspense – it’s an utter snooze.

The problem is that Chaves is way too liberal with his monsters, ghouls and demons, showing us way too much, too soon, in a classic horror filmmaking blunder. The camera lingers in long, leisurely looks over the scary thing or just blatantly shows us which otherwise mundane object will soon become animated by evil forces.

Almost every scene in the movie unfolds in the same way: some quivering poppet (altar boy, delivery girl, student) goes wandering into a dusty old space (rectory, cellar, chapel) and has the bejesus scared out of them by some crashing thing (wine jug, window, statue) and the spooky face of the creepy nun demon (Bonnie Aarons, we salute you). Lather, rinse, repeat. It’s actually shocking how many times this same scenic formula plays out in “The Nun II,” and never with any spectacular payoff.

In following Sister Irene, reluctant exorcist, the bones of an interesting story are there, especially as they dive into her past and the reasons why she’s able to tackle such demonry. The screenplay is by Ian Goldberg, Richard Naing and Akela Cooper, who has brought her own uniquely bonkers sensibility to films like “Malignant” and “M3GAN.” But there’s no wacky nunsploitation fun to be found in “The Nun II.”

Farmiga is a wonder to watch, delivering an earnest, guileless performance of Sister Irene that mirrors the performance of her own sister, Vera Farmiga, who plays the similarly psychically gifted Lorraine Warren in the franchise. (“The Nun” movies serve as prequels to “The Conjuring” movies.) In the sequel, she’s assisted by another, rather skeptical sister, Debra (Storm Reid), who tags along to see a miracle, and gets more than she bargained for.

The CCU is most frequently about faith, seeing and vision, both physically and psychically, and in the best installments – usually directed by James Wan – the film form and camera mimics the process of human sight and harnesses vision as a way to build suspense and add scares (e.g., “The Conjuring 2,” the best of the franchise). Chaves either doesn’t have the ability to pull this off in his efforts, or he doesn’t have the interest in it, which makes the themes of seeing and believing fall flat, even when he’s handed the perfect opportunity to explore those ideas in the script for “The Nun II.”

Instead, “The Nun” movies are less about faith, and more about women in relationship to religion – women’s intuition, women’s faith, the iconography of women in Catholicism, the evil that women can visit upon each other on the mortal plane and the spiritual, the inner emotional strength of women, and their weaknesses, embodied here in hunky handyman Maurice (Jonas Bloquet), who saved Sister Irene in the first movie, and still carries their experience with him.

But reaching for meaning in “The Nun II” is as fruitful as a wander down a dark and dusty old hall. You’ll find things that go bump in the night but not much else underneath all the doom and gloom.

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The Nun II Review: A Grittier and More Captivating Sequel

When The Nun graced our screens in 2018, it left many fans of The Conjuring Universe unimpressed and underwhelmed myself included. However, The Nun II , directed by Michael Chaves , emerges as a pleasant surprise, a compelling sequel that successfully redeems the franchise. With a screenplay written by Ian Goldberg , Richard Naing , and Akela Cooper , based on Cooper’s story, this film is a thrilling and chilling addition to the series.

Fast forward to the present day, and we find Sister Irene ( Taissa Farmiga ) living a secluded life in Italy, still haunted by her experiences at Saint Cartha’s monastery. Meanwhile, Maurice ( Jonas Bloquet ), one of the survivors of the previous encounter, works at a boarding school in France. The film introduces a new character, Sister Debra ( Storm Reid ), who defies authority to join Irene on her quest to confront the malevolent force that has resurfaced.

The film masterfully intertwines the characters’ stories, creating a sense of impending doom that steadily escalates as the narrative unfolds. Irene’s visions of Maurice’s distress drive her to investigate a series of mysterious deaths across Europe, ultimately leading her to Tarascon.

The visual storytelling in The Nun II is outstanding. Chaves employs a variety of techniques to create tension and unease. The use of dark, atmospheric settings, eerie sound design, and well-timed jump scares keeps the audience on the edge of their seats. The scene in which Irene is choked by Valak ( Bonnie Aarons ) is particularly intense and showcases Chaves’ ability to craft suspenseful sequences.

The character development in The Nun II is a notable improvement over its predecessor. Taissa Farmiga’s portrayal of Sister Irene is emotionally charged and believable. Her character’s internal struggles and determination to confront evil are conveyed with depth and authenticity. In my perfect world, Farmiga would snag herself an Oscar nom for her performance here. Storm Reid’s Sister Debra brings a fresh perspective to the story, adding an element of youthful innocence and curiosity. The dynamic between Irene and Debra is well-crafted and adds depth to their characters.

The film’s plot takes a fascinating turn when the duo investigates the history behind the demon they are facing. The revelation that Valak was an angel rejected by God adds a layer of complexity to the narrative. The quest for the relic of St. Lucy’s eyes, along with the demon’s motive for seeking it, keeps the audience engaged.

One of the film’s standout moments occurs within the boarding school’s abandoned chapel, where Sophie (Katelyn Rose Downey) is tormented by her classmates. The imagery of the mosaic with the goat’s eye glowing red is both visually striking and symbolic. This scene effectively sets the stage for the climax of the film.

While The Nun II maintains its horror roots with terrifying moments and gruesome imagery, it also delves into themes of faith, sacrifice, and the power of love. Irene’s revelation about the transformation of wine into the blood of Christ through prayer is a thought-provoking and inventive twist that adds depth to the story’s resolution.

The film’s cast delivers commendable performances. Taissa Farmiga carries the weight of the film on her shoulders and does so admirably. Jonas Bloquet convincingly portrays Maurice’s internal struggle as he grapples with the demonic presence within him. Storm Reid’s portrayal of Sister Debra brings a refreshing energy to the story, and Katelyn Rose Downey shines as the vulnerable yet resilient Sophie.

Every so often, the film can stray just a bit too far without showing anything all that creepy, and it’s here in which the film can be a bit of a drag. Certain scenes will be more entertaining than others as well, and a twist in the third act can feel a little bit corny, but not enough to detract from the overall viewing experience.

The Nun II is a remarkable improvement over its predecessor. Michael Chaves demonstrates his talent for creating suspenseful and visually striking horror sequences, while the cast delivers compelling performances. The film successfully redeems the franchise by delivering a captivating story with genuine scares and thought-provoking themes. If you, like me, were disappointed by the first The Nun , I strongly recommend giving the sequel a chance; you may be pleasantly surprised by what it has to offer.

• Acting - 8/10 8/10
• Cinematography/Visual Effects - 8/10 8/10
• Plot/Screenplay - 6.5/10 6.5/10
• Setting/Theme - 7/10 7/10
• Watchability - 8/10 8/10
• Rewatchability - 7/10 7/10

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The Nun II (2023) Review

VALAK RETURNS

In 2018, The Conjuring cinematic universe prepared to explore the past of the main demonic antagonist of 2016’s The Conjuring 2 with the release of The Nun . Directed by Corin Hardy, the film, which starred Taissa Farmiga, Demian Bichir, Jonas Bloquet, and Bonnie Aarons, follows a Roman Catholic priest and a nun in her novitiate training as they are sent to investigate a recent murder at a monastery in Romania, yet ultimately uncover an unholy demon that has been unearthed. The Nun had mixed reviews from critics and moviegoers, with most praising the performances of the cast, the scare tactics, and the cinematic atmospheric that feature invokes, but was criticized for its weak narrative and inconsistent logic in a few key areas. That being said, the movie did find success at the box office worldwide, with the feature grossing $365 million against its $22 million production budget, becoming the highest grossing film of The Conjuring series (even to this date of this review). Thus, given the palpable taste that the franchise had on the demon Valak, it was announced shortly after The Nun’s release that a follow-up picture would materialize in the near future. Now, after five years since the last appearance of “the marquis of snakes”, Warner Bros. Studios and director Michael Chaves return to the terror and demonic possession of the vile nun in the release of The Nun II . Does this sequel shine bright against the darkness or is it flat and lackluster horror movie that’s not worth your time?

The year is 1957 and a sinister malice has settled in at a boarding school in France, with the demon Valek (Bonnie Aarons) returning from the shadowy depths and terrorizing the students and staff therein, including teacher Kate (Anna Popplewell), her daughter Sophie (Katelyn Rose Downey), and maintenance staff Maurice (Jonas Bloquet), who previously had a run in with the vile creature. Called back into the foray by the Catholic Church is Sister Irene (Taissa Farmiga), who thwarted Valek’s attempt for power before, tasked with investigating reports of the sudden return. She’s paired with Sister Debra (Storm Reid), a novice sister, with the pair setting out to find evidence of Valek’s presence and research her new mission of terror and power, trying to deduce why she’s returned and what she is seeking. What unfolds is something quite disturbing as answers slowly come to light, while violence acts are in full force, with Valek stalking its victims in the shadows as Sister Irene and Debra combat the demonic presence, while trying to save Sophie and Maurice from a horrible fate.

THE GOOD / THE BAD

As I’ve stated many times in my reviews, I’m not much of a horror movie fan. It’s usually not my personal “cup of tea” viewing experience, especially with some delving into what I call the “stuff of nightmares”, with bone-chilling acts of violence, gruesome deaths, and gory blood around every corner. That being said, some horror features have entertained me enough to become enjoyable to my liking, especially ones that are a little bit more thought-out than your “run-of-the-mill” endeavors. The Conjuring movies are some of those grouping. Not quite all of them, but mostly the core main titles ones, especially 2016’s The Conjuring 2 , which introduced the character Valak, a demonic being that takes the guise of devilish nun. Maybe it was the contrast of an evil creature in the outward appearance of a Catholic nun (almost mocking the religious faith of a wolf in sheep’s clothing), but I found Valak to be an interesting antagonist. Better yet, I think a lot of people did, which is why a two years The Nun was released in theaters and showcased more terrorizing from Valak in her own personal spin-off feature that was set within the Conjuring film universe. The story, while not the most original, felt good and appropriate something like demonic nun running amok in a covenant. The characters were a bit stock-like and stereotypical for the horror genre, but the overall atmospheric nature was terrific and definitely made the movie. In the end, while not the quintessential horror of the decade (let alone that year), The Nun proved that spin-off endeavor can be a good thing, especially if the villain and presentation work in the narrative’s favor.

This brings me back to talking about The Nun II , a 2023 horror film and the follow-up sequel to the 2018 film The Nun . As stated earlier, given the reception that this particular spin-off project in the Conjuring series, it seems like a forgone conclusion that a sequel would be greenlit by the studio, which was soon after. However, given the landscape of what was planned from the horror franchise, including Annabelle Comes Home , The Curse of La Llorona , and The Conjuring: The Devil Made Me Do It , The Nun II languished on the backburner for quite some time. It wasn’t until April 2022 when Warner Bros. officially announced the sequel and that Taissa Farmiga and Jonas Bloquet would be coming back to reprise their characters as well as actress Bonnie Aaron, who would reprise her roles as main title character of the Nun (Valak). After that, I didn’t hear much about the project for much of the rest of 2022. I did hear that it was going to be coming out in September 2023, so it was something to look forward to after the summer movie lineups of that year. It wasn’t until the summer of 2023 that I began to see the film’s movie trailer appear both online and in theaters (during the “coming soon” previews). From the trailer alone, the movie looked quite appealing, interjecting the same type of spooky and horror vibe that the first film had and seems like a good continuation of what began in 2018. So, I was definitely ready to see what lay in store for The Nun II when it was scheduled to be theatrically released on September 8 th , 2023. However, due to being on vacation (out of the country) when it first came out, I had to wait a couple of weeks to get a chance to see the movie as well as to review. So, with some time free to do so, I’m ready to share my personal opinion on this film. And what did I think of it? Well, it was actually pretty good and exactly what I was expecting it to be. Despite a few clunky mechanics and the stereotypical “too much jump scares” tactics and tropes, The Nun II still manages to carry the same type of atmospheric bravado and horror thrills that were first presented in the 2018 film. Like its predecessor, it’s not exactly quintessential horror movie, but it was still entertaining and had enough scary elements to make the whole endeavor enjoyable to watch.

The Nun II is directed by Michael Chaves, who previously directed such films as The Curse of La Llorona and The Conjuring: The Devil Made Me Do It . Thus, given his familiarity of working both within the Conjuring series as well as horror features, Chaves seems like the most obvious and suitable choice for tackling such a project as this. In this regard, I think that Chaves succeeds by helming the film with enough gumption and confidence in his skills to make the whole endeavor like solid continuation of what began in the first Nun picture. Like any installment in a long / expansive franchise, the character of Valak may have started out as just a central antagonist in The Conjuring 2, but this movie continues to prove that there’s a lot detail and backstory that could be made out of a new spin-off tale, with Chaves relishing the chance to prove the point to the letter. In essence, what began was just for scares and chilling horrors weaves a bit more story elements to help “pull the punches” in have larger stakes that just your rudimentary horror feature. Chaves keeps that notion in mind by shaping The Nun II with a more of narrative bite to it all, with story elements of mystery and intrigue to help further characters along the way (fleshing some points as well) and pushing what began in the 2018 film. Thus, this sequel feels like a genuine branch extension to the previous installment, following the journeys of both Sister Irene and Maurice as they are drawn back into the horror nightmares that Valak has in store for them. Plus, Chaves keeps up The Nun’s overarching themes of spiritual connections and personal religious faith, finding character conflicted and unsure of their own beliefs and stratagems against such an otherworldly demon foe.

Also, for the horror elements, I felt that Chaves does a pretty good job, displaying burst of acts of violence that are gruesome without becoming off-putting or just for show, yet also shows the sheer terror of what Valak can do with her demonic powers. Again, this particular aspect this a horror films “bread and butter” and Chaves doesn’t disappoint in this regard, with The Nun II capturing the same type of maniac and unsettling creepiness that the previous entry was able to capture as well as The Conjuring flagship installments of which this movie is branched off of. Additionally, I felt that the movie’s pacing was pretty good and actually holds its own. While I felt certain aspects (character and story) could’ve been expanded upon (or handled better), Chaves makes The Nun II have a quicker pace than others endeavors in this horror franchise. Events and sequences come quick and at a proper timing, which makes the feature live more alive, especially how enjoyable it is and not so much a slog fest. So, despite the fact that the movie is nearly two hours long (110 minutes in length), it doesn’t feel as long as that, which (in hindsight) is a good thing. In the end, while not exactly the overly succeeding path its predecessor, Chaves does make the most of this project, with The Nun II generating enough thrills, chills, and spooky moments to make fans of the series entertained with the latest outing of religious warfare against the demon nun’s conquest of death and power.

Like the 2018 film, The Nun II’s presentation is perhaps the best attribute that the project has in its arsenal, with the sequel projecting the same type of visual energy and background nuances as to its predecessor. While the first film had a terrific setting of an old Romanian monastery that was secluded and desolate, this movie still manages to keep up that on-going trend of having another derelict and ruined primary set piece (a French boarding school) that’s boast plenty of mystery and creepiness for the characters (and villain) to run around in. In addition, the movie still continues that atmospheric nature of cinematic integrity of that of the first Nun movie, with the film showcasing and displaying that layered attention of details in a gothic-like horror period piece. This, of course, makes the feature’s “behind the scenes” key players, including Alexis McKenzie Main (art direction), Stephanie Cressend (production design), Emmanuel Delis (set decorations), and Agnes Bezier, palpable in their efforts in bringing the film’s movie world to life that looks quite appealing and appropriate for the project’s time / setting. Perhaps the best of this grouping is found within the cinematography work by Tristan Nyby, who delivers some great horror and atmospheric impulses through the usage of shadowing, lightning, and dynamic camera angle positionings. It definitely helps bolster those “cinematic” moments in the feature and (again) creates that atmosphere that made the first Nun picture entertaining. Also, while sound design can be subjective, I do have to say that the usage of the sound editing / mix was pretty good in the movie and helps incorporate those horror-like flourishes of various sound effects (i.e scratch, groaning, and other guttural sounds). Lastly, the film’s score, which was composed by Marco Beltrami, is pretty good and definitely helps build upon the movie’s thrills and bombastic moments of horror delights. It’s haunting when it needs to be and soft when dialogue driven moments. All in all, a good job from Beltrami. Although, in comparing the two Nun movies, I felt that Abel Korzeniowski did a slightly better job, especially in a few key areas where the cinematography presentation is heightened and delivers some chilling moments.

Unfortunately, The Nun II does share some of the same pitfalls and criticisms that its predecessor had, with the sequel not being the most riveting horror feature as intended. How so? Well, for starters, the feature does follow a formulaic path that reaches a foreseeable conclusion. The movie’s script, which was penned by Ian Goldberg, Richard Naing, and Akela Cooper, does make for a spooky storyline that was similar to the first feature and delivers on that promise for another bout of good vs. evil, yet the whole endeavor seems a bit “by the book”, for the framing of the story feeling too basic and standard for a horror flick. Thus, the repetition of it all quickly sinks in and generates that predictable notion of narrative progression, with viewers (myself included) could see coming and knowing the ultimate outcome of this demonic encounter. This somewhat didn’t bother me as much as I kind of figured that the first Nun movie shared a similar problem and I knew that this sequel wouldn’t be “radically” different from that one. Plus, horror movies (in general) don’t have the most gripping and thought out written narrative as something I would say a though-provoking drama piece. Thus, it comes with the territory of a horror movie, so (again) I didn’t put a large emphasis on my criticism towards this movie. That being said, it might to others and I would’ve liked to seeing a bit more “substance” in the script handling.

Another problem that I had with this movie, which is something more recent of horror movies nowadays, is the multitude of “jump scares” and how they are utilized in the movie. This scary tactic of this notion has indeed become a common practice in modern horror moviemaking and can be effective in a handful of scenes to make for a sudden jolt of fright for its characters and us (the viewers). In the case of The Nun II, this tactic feels overused too many times and almost oversaturates most of the times it’s been used. Yes, there are few parts where it does with work with great effect, but (again) the usage of too much “jump scares” diminished the overall impact.

For Chaves’s part, I felt that The Nun II could’ve had a bit more finesse in its overall execution of its story and the characters that populate it. Like a lot of the previous off-shoots in the Conjuring series, these projects can be viewed as “subpar” presentation (to a certain degree), with the flagship motion pictures of Warrens (Ed and Lorraine) detective work within the paranormal findings and spiritual possession being the best of what this franchise has to offer. The Nun spinoffs fit into the subpar category a few times, with both movies being good, but could’ve been better if the movie took a bit more risks and had more of a compelling narrative to follow. As mentioned, I do give credit to Chaves for his efforts and certainly does make The Nun II his project in the cinematic universe, which I why I feel that he could’ve done a lot more with this movie, learning from the mistakes and pitfalls that director Corin Hardy and delivering some more profound. As it is, Chaves makes his sequel feel, more or less, the same as the previous installment, which can be viewed as both a good and bad thing…..depending on the viewer. For its criticism, the movie doesn’t feel challenged enough and sits comfortably in a somewhat “holding pattern” of scares and thrills.

The cast in The Nun II is pretty good within the realm of horror movies, with most of the acting talent involved given what they can in their character parameters as well as within the film genre. Of course, this means that some are a little bit “broad” in their undertaking and are a bit of “cog in the wheel” to help further the narrative plot or bounce off certain ideas. So, it kind of goes with the territory of horror flicks. Leading the charge in the movie is actress Taissa Farmiga, who returns to the project to play Sister Irene from the first installment. Known for her roles in Anna , The Final Girls , and The Glided Age , Farmiga, who acted as the main character of the first installment, makes for a somewhat “constant” in these two spin-off endeavors in the Conjuring franchise. For this reason, I think that Farmiga makes for a competent character that is easy to root in her journey against Valak’s hauntings and seizes the day from evil. There isn’t a whole lot of what I would call “character growth” in this installment (beyond a few snippets here and there) as a more “seasoned” sister of the Catholic Faith, but Farmiga is up to the task and has enough screen presence to make her time on this feature steadfast and entertaining as a female lead.

Behind her, actor Jonas Bloquet ( 3 Days to Kill and Elle ) returns to play his character of Maurice from the previous film. Like before, Bloquet has a enough charm and likeable personality to make his portrayal of Maurice endearing and seeing the character get caught up in tragedy makes for some compelling narrative plot making for the feature. Again, it’s nothing new or original, but still perfect fits fine in these features.  And, of course, there is no denying the fact that the movie makes for great visual presentation thanks to the film’s main lead antagonist, with actress Bonnie Aaron ( Mulholland Drive and Jakob’s Wife ) coming back to reprise her role as the demon Nun (aka Valak). Like before, there isn’t any type of character dialogue or growth to the role, but there is plenty of unnatural evil with the Nun and makes for such a terrific bad guy to play around with. Just the presence of the character in flickering imagery or small snippets makes for such wonderful (and haunting) villain. Plus, Aaron makes the character (physically) come alive and is solid within her portrayal of Valak.

Of the new characters, I would say that young actress Katelyn Rose Downey ( The Princess and Clean Sweep ) does the best job in the movie as Sophie, a young and curious girl at the boarding school, who becomes entangled in Valak’s quest for power. Downey, while hasn’t been in much, still manages to make the most of her time on this project and gets a lot of screen time to make her screen time memorable. Although, the character of Sophie is your stereotypical “child” character in a horror movie that usually gets a lot of time due to the fact she gets in trouble. Behind her, actress Anna Popplewell ( The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe and Reign ) as Kate, Sophie’s mother and teacher at the French boarding school. Personally, I was quite surprised to see Popplewell in the film as I haven’t seeing much of her of late (she’ll always will be Queen Susan from the Narnia movies). As for her character, Kate is okay and I really don’t have any complaints. She acts as the concerned mother figure as well as somewhat “love interest” for Maurice, but that’s only vague presented in passing. Popplewell’s acting is also good, so (again) nothing to complain about. Thus, she sort of makes for a sort of “even keel” supporting character. Who actually fares the worst is actress Storm Reid ( A Wrinkle in Time and Euphoria ), who plays the character of Sister Debra, a recent novice Catholic nun who joins Irene on her journey to investigate Valak’s sudden reemergence. Why is she the worst? Well, to put it frankly, there isn’t much to the character as Debra is flat and boring and mostly there for Irene to bounce off ideas and other narrative concepts to progress the story further. As for Reid’s performance…..it’s okay. It’s nothing grand or invigorating….it’s just there, which is kind of disappointing. I would’ve rather liked to see actor Demian Bichir to reprise his role of Father Burke. In the end, Reid’s Debra just comes away as forgettable sidekick character and nothing more.

The rest of the cast, including actress Suzanne Bertish ( Magic Mike’s Last Dance and Benediction ) as Madame Laurent, actor Pascal Aubert ( District 13: Ultimatum and Chronicles of the Son) as Father Noiret, actor Peter Hudson ( Jackie and The Last Duel ) as Father Ridley, actor David Horovitch ( The Young Victoria and Mr. Turner ) as Cardinal Conroy, actress Leontine d’Onicieu ( Two Tickets to Greece and Balthazar ) as Simone, actress Anouk Darwin-Homewood ( Le Dulge ) as Celeste, actor Maxime Elias-Menet ( A Good Doctor and Arthur, malediction ) as Jacques, and actress Kate Colebrook ( Emily in Paris and Call My Agent !) as Irene’s mother, makes up the minor supporting characters in the film. As is customary for players in the grouping, the acting talent involve is fine, despite their limited screen time in the feature. To me….no harm, no foul as all is good in their capacity.

FINAL THOUGHTS

Valak, the defiler, the profane, the marquis of snakes, has returned and seeking a new coveted power, which drags Sister Irene back into the fight against the feared demon and save her friend (Maurice) from damnation in the movie The Nun II . Director Michael Chaves’s latest film takes what previous established in the first picture and expands upon it within the same type of bravado and energy with a tale of scares of horror and religious motifs of light and darkness. While the movie is bound by familiar tropes and cliches of the genre (in both mechanics and writing word), the film manages to make for a good horror romp, especially with Chaves’s direction, a good visual presentation, great atmospheric nuances, and several confident performances (Farmiga, Bloquet, and Aaron). Personally, I liked this movie. There were some moments that were a bit silly and held the feature back, yet improved in a few areas where the first feature lacked. As mentioned above, I do like the character of Aaron’s Valak, so it was still great to see such an evil antagonist stalking the corridor halls once again. So, I would say that the movie is about on the same level as the 2018 film, which be viewed as both a good and bad thing. For me, it’s former as it keeps up the atmospheric nature that made last movie entertaining and kept me invested in the presentation from start to finish. I didn’t expect something completely different or creatively spellbinding from the previous installment, so my expectations were normal, and I took the film for what it was….at face value. Thus, my recommendation for this movie is solid “recommended”, especially for fans of the Conjuring series as well as horror fans out there. The ending of the film leaves a possible open for another installment ( The Nun III ), which I would love to see, but I would like to see it come with a strong narrative plot or rather a reason for threequel rather than running the character into the ground. Still, regardless of if one materializes or  not, The Nun II , while having its own flaws and strengths, is another solid entry in this off-shoot tale of good and evil within a franchise that is littered with supernatural beings, terrifying specters, and creepy objects that call upon demons and other spirits to our world.

3.7 Out of 5 (Recommended)

Released on: september 9th, 2023, reviewed on: october 31st, 2023.

The Nun II is

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I went to see it at the cinema and thought it was rubbish tbh.

Haha…I do welcome your comment. As I’ve mentioned in my review, I’m not the biggest fan of horror movies, so judgement of them is a bit different from the norm. I did like for what it’s worth and for face value. It was more of atmospheric cinematic experience, which I did like. Yet, I can see why would disagree with me and didn’t like the film.

I’ve never liked any of them, not even enough to give them any credit for being good cinema. I’ll skip it.

Haha….so I’ve heard from viewers out there. For me, while I’ve never being much of a “horror fan”, I did like the idea of a demonic being in the guise of a nun to be intriguing.

First Conjuring Universe movie I’ve seen in theatres. I enjoyed it!

It was pretty good. Definitely one of the better spinoff projects from the Conjuring universe.

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Geek Culture | Movies, TV, Comic Books & Video Games

Movie Review – The Nun II (2023)

September 8, 2023 by Robert Kojder

The Nun II , 2023.

Directed by Michael Chaves. Starring Taissa Farmiga, Jonas Bloquet, Bonnie Aarons, Storm Reid, Katelyn Rose Downey, Anna Popplewell, Suzanne Bertish, Léontine d’Oncieu, Anouk Darwin Homewood, Peter Hudson, Tamar Baruch, Natalia Safran, Maxime Elias-Menet, Alexandra Gentil, Margot Morris, Pascal Aubert, David Horovitch, Paul Spera, Aaron-Jon North, and Kate Colebrook.

1956 – France. A priest is murdered. An evil is spreading. The sequel follows Sister Irene as she once again comes face-to-face with Valak, the demon nun.

This piece was written during the 2023 WGA and SAG-AFTRA strike. Without the labor of the writers and actors currently on strike, The Nun II wouldn’t exist.

Director Michael Chaves is apparently seen as a jack-of-all-trades Conjuring Universe filmmaker for hire, having broken into the franchise with The Curse of La Llorona  and recently helmed the third entry in The Conjuring series. The problem is that they weren’t scary, memorable, or stimulating, so it’s unclear why Warner Bros. and James Wan thought he would be a good fit for The Nun II , a sequel to arguably the most forgettable of the cinematic universe, something that shows considering the film is constantly going out of its way to remind viewers what happened.

It is a direct sequel with Taissa Farmiga reprising her role as Sister Irene, wrongly assuming that her days of fighting back against Valak (Bonnie Aarons), a demon disguised as a nun, are over. Four years later, Sister Irene works at another convent, with her current goal being to encourage Sister Debra (Storm Reid) to try out a confession. Debra is given a tragic backstory with unpleasant reasons for being at this convent, but for a new character, she mostly comes across as an afterthought sidekick. No compelling bond develops between these two; it’s all white noise as they travel from location to location, inevitably getting wrapped up in supernatural terror.

Meanwhile, there are mysterious deaths across France of those involved with the Catholic Church with Sister Irene and Sister Debra analyzing grisly photographs and visiting glorified religious librarians for information that might help unearth what and why this is happening. Their mission eventually takes them to a boarding school where Frenchie (once again played by Jonas Bloquet), a handyman now going by the name Maurice, starts fixing the place up and getting acquainted with the residents. Among these characters is a bullied young girl, Sophie (Katelyn Rose Downey), and one of the teachers (Anna Popplewell), although nothing engaging comes from these connections. 

However, Maurice is also possessed by Valak, freely taking control and leaving the body. And while there is a decently disturbing idea in a demon invading a religious boarding school, it also doesn’t amount to anything suspenseful or remotely entertaining until the final 20 minutes, which, while nonsensical and without payoffs for certain introduced aspects, is at the very least, chaotic ( M3gan screenwriter Akela Cooper’s influence is felt here, credited with coming up with the story and co-writing alongside Ian Goldberg and Richard Naing.)

Unfortunately, the first two-thirds are aggressively tedious, relying on pointless jump scares (terribly constructed considering how telegraphed and obvious they are) to push the film along. There are no well-written characters here or compelling character dynamics, and it often feels as if even the filmmakers don’t know how to fill the time before the two sets of characters converge. For a film that spends so much of its time on the characters, they are given almost nothing to do. 

The Nun II has the thinnest possible plot outline and comes without any real purpose, whether as a standalone story or tied to Conjuring lore. Choosing what feels lazier is tough: its approach to horror or the empty screenwriting. If there is a third one, it’s guaranteed that there will be just as many references and expository dialogue to remind you what happened here. 

Flickering Myth Rating – Film: ★ / Movie: ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check  here  for new reviews, follow my  Twitter  or  Letterboxd , or email me at [email protected]

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Stream It Or Skip It: ‘The Nun II’ on Max, a The Latest Entry in the ‘Conjuring’ Universe

Where to stream:, is ‘azrael’ streaming on netflix or hbo max, ‘the substance’ leads a fall trilogy of body modification movies, ‘i saw the tv glow’ ending explained: the meaning behind that gut-wrenching final scene, stream it or skip it: ‘i saw the tv glow’ on hbo max, a surreal horror-drama about teens, tv and tormented identity.

The Nun II ( now streaming on Max ) is the continuing story of a demon who has a bad habit of possessing people and forcing them to come up with grotesque puns. The movie is the eighth installment in a loosely connected franchise I refuse to call The Conjuring Universe , and the sequel to 2018’s notable global hit The Nun . Taissa Farmiga returns to play Sister Irene, who gets another opportunity to chase off a demon named Valak, who, like most demons, is ugly and not very nice, and unlike other demons, manifests as a vestal human in order to… do… whatever it is demons are supposed to do, which probably should be more than the petty parlor tricks this one tends to indulge instead of just, you know, killing people in simple, direct, effective fashion. So yes, this movie drove me nuts, which doesn’t bode well for this review. 

THE NUN II : STREAM IT OR SKIP IT?

The Gist: An altar boy in Tarascon, France, 1956, trucks a wine decanter up the rectory steps so he can put it away in a terrifying old location with poor lighting and a hella-creepy painting of Lucy, the Patron Saint of Blindness, who has inky black spots where her eyes should be. Just another day in terrifying religious buildngs! Before you know it, the decanter explodes and the holy water boils and the priest levitates into the air and makes a CRACKITY BONES (crackity crackity crackity bones !) noise before he bursts into flames. For anyone reading this who may not be particularly Catholic, this is not what normally happens to wine decanters, holy water or priests, and that’s why this is a movie. Because if this was just about sipping “the blood of Christ” and baptisms and the like, nobody would’ve greenlit it.

We then relocate to Romania, where nuns in a convent whisper ghost stories while they peel potatoes. Sister Irene (Farmiga) overhears them and all but yawns – she survived some of the real shit in the last movie. And that’s why she’s summoned to investigate the crap that happened in the opening scene: “The church needs another miracle,” is the pitch, and she agrees, taking her pal Sister Debra (Storm Reid) with her. In that French place where the crap is happening is a girls’ boarding school, where the handsome gent from The Nun , Maurice (Jonas Bloquet), works the grounds. He’s befriended young Sophie (Katelyn Rose Downey) and her teacher mother Kate (Anna Popplewell), and isn’t it an odd coincidence that Maurice is again present for The Nun-related shenanigans? We won’t get into that right now – spoilers and all that – and will instead mention how the school is a typical Movie School with a group of mean girls and a headmistress so gristly-tough, one presumes she flosses with piano wire.

What we will get into is The Nun’s antics, which typically involve subtle manipulation of characters so they meander quietly through dark hallways and creaky old rooms, rendering them ripe to get the lovin’ bejeezus scared out of them. Oh, The Nun gets nasty early on, killing a young messenger girl with a loud, bloody squelching sound, but after that, the dithering is endless – always with the dithering – and the kills are sparse. There’s no better way to concoct a phony-ass jump scare than to magically influence a character to walk… slowly… through… a… dark… room… and never even consider flipping on a light switch. Or, if a light actually happens to be on, The Nun will make it flicker dramatically so she can appear and disappear from one blink to the next. 

Finally, Sisters Irene and Debra arrive in France, and The Nun has a golden chance to off Irene, but instead she just knocks her out, because there’s still half the movie left. Now, you have to be wondering, what the living hell does The Nun want? There’s an answer to that question, and I won’t reveal it – again, no spoilers and all – but I do believe all this jump-scare dithering isn’t exactly the most logical and direct way to get it. 

What Movies Will It Remind You Of?: Haven’t seen a nun this nasty since Paul Verhoeven’s naughty naked nun movie Benedetta . Otherwise, The Nun II is like Sister Act crossed with one of the shittier Nightmare on Elm Street s. 

Performance Worth Watching: Bloquet gets an opportunity to lose his shit for reasons I won’t reveal, and in that moment we get a fleeting glimpse of the movie’s rare entertaining performances. 

Memorable Dialogue: Stupidest exchange in the movie:

Sister Debra, perplexed, looking at a bipedal goat man: What is that thing? A young girl who probably doesn’t have near the religious education of Sister Debra: It’s the devil!

Sex and Skin: None. This movie is nunsploitation-free.

Our Take: Anyone else think The Nun looks too much like Marilyn Mansnun to be scary? No offense to Bonnie Aarons, who plays The Nun, and is also the creepy homeless alley lady in Mulholland Drive , which makes her a horror hall-of-famer. But The Nun II does not show us nearly enough in the way of full metal nun-ness to make us appreciate the creep factor of a woman in Norwegian black metal-dude facepaint and a luxurious habit hissing and baring her pointy blood-caked teeth. There’s a shot or two where she looks succulent in her hideousness, a Woman of God who’s very much down for a wild evening of grinnin’ and blasphemin’, and it’s those moments when the film is at its least worst.

There are crazy things The Nun can do, whatever they are; there appears to be no limit to her power or severe limits to her power, depending on where we are in the plot. They seem to be limited in scope until it’s time for a very loud, noisy, screechy, fiery climax, and then, her abilities are rather impressive. Otherwise they’re a bland assortment of stuff like making an old crumbling plaster wall look like her face, or manifesting her visage in a series of magazines in a newsstand, or grabbing someone by the throat and not squeezing hard enough to kill them. There are also times when she can levitate herself and other things via some form of psychokinesis, and apparently summon demonic creatures, and maybe even possess a poor soul, all of which would, you’d think, help her better expedite murders and/or her evil monkey business. But she’d much rather startle folks by leaping into the frame and showing off her Lee Press-on Fangs, all the better to inspire the teenagers in the audience to pretend to be scared. My conclusion: She’s clearly the least efficient supernatural homicide-being in horror movie history.

The reason we have so much time to pick apart The Nun’s deeply flawed M.O. is simple: The Nun II is a deadass bore, clocking in at 110 minutes, 100 of which accomplish a measly f— or two shy of f—all. I mentioned the goat guy. He’s cool as shit. Badass. Pretty scary, too, as he dashes in and out of flashlight beams. Too bad he also does f—all in this plodding, bloated, dull, humorless, stifling movie. Director Michael Chaves ( The Conjuring: The Devil Made Me Do It ) at least makes the film a somewhat immersive period piece, establishing 1950s France with visual textures and spooky atmosphere that go to utter waste in the pursuit of cheep-thrillz horror scarez. Chaves hammers away on the sound-effects buttons that generate the CRACKITY BONES (crackity crackity bones bones bones!) noise, and the other one that sounds like a gnu choking on a chunk of knockwurst, eventually building to a screeching conclusion with a depressingly underwhelming payoff. There was a point early on where I uttered out loud, God, I don’t care about any of this , because the entire plot is predicated on nonsense, and the characters are vacuum-brained empty vessels. You’ll lose your faith in this movie before you’re even halfway through it.

Our Call: The Nun II: Back in the Habit is ecclesiasti-DULL. SKIP IT.

John Serba is a freelance writer and film critic based in Grand Rapids, Michigan.

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Movie Review: ‘Saturday Night’ is thinly sketched but satisfying

This image released by Sony Pictures shows, from left, Kim Matula, as Jane Curtin, Emily Fairn, as Laraine Newman, Gabriel La Belle, as Lorne Michaels, Rachel Sennott, as Rosie Shuster, and Matt Wood, as John Belushi in a scene from “Saturday Night.” (Hopper Stone/Sony Pictures via AP)

This image released by Sony Pictures shows Gabriel LaBelle as Lorne Michaels, left, Kaia Gerber as Jacqueline Carlin, center, and Cory Michael Smith as Chevy Chase in a scene from “Saturday Night.” (Hopper Stone/Sony Pictures via AP)

This image released by Sony Pictures shows JK Simmons as Milton Berle in a scene from “Saturday Night.” (Hopper Stone/Sony Pictures via AP)

This image released by Sony Pictures shows Lamorne Morris as Garrett Morris in a scene from “Saturday Night.” (Hopper Stone/Sony Pictures via AP)

This image released by Sony Pictures shows Nicholas Braun as Jim Henson in a scene from “Saturday Night.” (Hopper Stone/Sony Pictures via AP)

This image released by Sony Pictures shows Nicholas Braun as Andy Kaufman in a scene from “Saturday Night.” (Hopper Stone/Sony Pictures via AP)

This image released by Sony Pictures shows Matthew Rhys as George Carlin in a scene from “Saturday Night.” (Hopper Stone/Sony Pictures via AP)

This image released by Sony Pictures shows a scene from “Saturday Night.” (Hopper Stone/Sony Pictures via AP)

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We are at the apex of “Saturday Night Live” appreciation . Now entering its 50th year, “SNL” has never been more unquestioned as a bedrock American institution. The many years of cowbells, Californians, mom jeans, Totino’s, unfrozen caveman lawyers and vans down by the river have more than established “SNL” as hallowed late-night ground and a comedy citadel.

So it’s maybe appropriate that Jason Reitman’s big-screen ode, “Saturday Night,” should arrive, amid all of the tributes, to remind of the show’s original revolutionary force. Reitman’s film is set in the 90 minutes leading up to showtime before the first episode aired Oct. 11, 1975.

The atmosphere is hectic. The mood is anxious. And through cigarette smoke and backstage swirl rushes Lorne Michaels (Gabriel LaBelle), who’s trying to launch a new kind of show that even he can’t quite explain.

“Saturday Night,” which opens in theaters Friday and expands in the coming weeks, isn’t a realistic tick-tock of how Michaels did it. And, while it boasts a number of fine performances, I wouldn’t recommend it for anyone hoping to see an illuminating portrait of the original Not Ready for Prime Time Players.

No, Reitman’s movie is striving for a myth of “Saturday Night Live.” Michaels’ quest in the film — and though he never strays farther than around the corner from 30 Rock, it is a quest — is not just to marshal together a live show on this particular night, it’s to overcome a cigar-chomping old guard of network television. (Milton Berle is skulking about, even Johnny Carson phones in.) In their eyes, Michaels is, to paraphrase Ned Beatty in “Network,” meddling with the primal forces of nature.

In mythologizing this generational battle, “Saturday Night” is a blistering barn-burner. In most other ways (cue the Debbie Downer trombone), it’s less good. Reitman, who penned the script with Gil Kenan, is too wide-eyed about the glory days of “SNL” to bring much acute insight to what was happening 50 years ago. And his film may be too spread thin by a clown car’s worth of big personalities. But in the movie’s primary goal, capturing a spirit of revolution that once might have seized barricades but instead flocks to Studio 8H, “Saturday Night” at least deserves a Spartan cheer.

A clock ticking down to showtime runs as ominously as it might in “MacGruber” throughout “Saturday Night.” Nothing is close to ready for air. John Belushi (Matt Wood) hasn’t signed his contract. Twenty-eight gallons of fake blood are missing. And, most pressing of all, the network is poised to air a Carson rerun if things don’t take shape. An executive pleading for a script is told, “It’s not that kind of show.”

What kind is it? Michaels, himself, is uncertain. He’s gathered together a “circus of rejects,” most of them then unknown to the public. There is Gilda Radner (Ella Hunt), Chevy Chase (Cory Michael Smith), Garrett Morris (Lamorne Morris), Jane Curtin (Kim Matula) and Dan Aykroyd (Dylan O’Brien). Also in the mix are Jim Henson (Nicholas Braun), who spends much of the movie complaining about the untoward things the cast has been doing to Big Bird, Andy Kaufman (Braun again), Billy Crystal (Nicholas Podany) and the night’s host, George Carlin (Matthew Rhys).

Most of them pass too quickly to make too much of an impression, though a few are good in their moments — notably Smith, playing up Chase’s braggadocio, O’Brien and Morris. Garrett Morris, the cast’s lone Black member, is in a quandary over his role — because of his race and because he was a playwright before being cast. Though “SNL” was revolutionary, it hardly arrived a finished product. Morris here is a reminder of the show’s sometimes — and ongoing — not always easy relationship to diversity, in race and gender.

It also wasn’t always such a break from what came before. When Chase faces off with Berle in a contest over Chase’s fiancee, Jacqueline Carlin (Kaia Gerber) — one of the movie’s few truly charged scenes — they seem more alike than either would like to admit.

It’s not a great sign for “Saturday Night” how much better the old guard is than the young cast. Along with Simmons’ Berle is Willem Dafoe’s NBC executive David Tebet. He provides the movie its most “Network”-flavored drama, seeing “a prophet” in Michaels and, despite wavering skepticism, urging him to be “an unbending force of seismic disturbance.” Also in the mix — and a reminder that the suits had newbies, too — is Dick Ebersol (a refreshingly genuine Cooper Hoffman ), a believer in Michaels but only up to a point.

Ultimately, this is Michaels’ show, and he’s played winningly by LaBelle, the “Fabelmans” star, even if the characterization, like much of “Saturday Night,” is a little thin. Sometimes by his side, as he races to get the show ready is the writer and Michaels’ then-wife, Rosie Shuster (the excellent Rachel Sennott), who you want more of.

It seems to be an unfortunate truth that dramatizations of “Saturday Night Live” inevitably kill it of laughter. That’s true here just as it was in Aaron Sorkin’s “Studio 60 on the Sunset Strip.” The exception to that, of course, is Tina Fey’s “30 Rock,” which was smart enough to abandon all the “SNL” mythology and focus on what’s funny.

This “Saturday Night” may have a legacy of its own; a lot of this cast, I suspect, will be around for a long time. And, ultimately, when the show finally comes together, it’s galvanizing. The cleverest thing about Reitman’s film is that it ends, rousingly, just where “SNL” starts.

“Saturday Night,” a Columbia Pictures release is rated R by the Motion Picture Association for language throughout, sexual references, some drug use and brief graphic nudity. Running time: 108 minutes. Three stars out of four.

Sister Death Review: Netflix's Spanish Film Has Far Superior Nun Horror Than America

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• Sister Death is a visually stunning horror film with great set and costume design, a haunting atmosphere, and a lack of music that adds to the suspense.
• The prequel to Veronica explores the origins of Sister Narcisa's blindness and her battle against faith and religion, uncovering dark secrets and tortured souls.
• Although light on jump scares, Paco Plaza creates a terrifying atmosphere for religious horror fans, and Aria Bedmar delivers a fantastic performance as the lead character.

Back in 2017, a small Spanish horror movie titled Veronica dropped on Netflix to great praise. It was a haunting film with engaging characters and incredibly creepy imagery. While it's not the scariest movie of all time, it was certainly among the most unforgettable international horror movies of the past decade. With no prior evidence of a sequel or a spin-off of any kind, Netflix's upcoming Sister Death , set in the Veronica universe, was a big, yet welcome surprise.

Sister Death is a visually stunning horror film in the sense that it's well shot, sports some great set design, and has wonderful costumes and makeup, which all help create the ghostly atmosphere of a specific time and place. The film's old-school aspect ratio of 4:3 continues a surprising new trend in smaller films of recent years ( A Ghost Story, First Reformed, Son of Saul, American Honey ), and allows the imagery to really pop, making for a far more claustrophobic and clear flick. The lack of music for the majority of the film elevates the already suspenseful and scary tone. Aria Bedmar is flawless as the lead character, and is Spain's next great scream queen .

It's nigh impossible to not compare Sister Death to another 2023 horror film involving nuns, The Nun II. Thankfully, however, Sister Death is a far superior horror film, and arrives just in time for Halloween.

A Surprising Prequel

Created entirely around a short quote from Veronica, with Sister Narcisa, the blind nun, mentioning that she caused her own blindness, Sister Death follows Narcisa (Aria Bedmar) as she is welcomed into a convent following the disappearance of one of the other nuns. Upon her arrival, Sister Narcisa begins to unravel dark secrets and a terrifying mystery which will force Narcisa to question her faith.

Sister Narcisa was one of the more captivating characters in 2017s Veronica . But having an entire film centered around her, and the origins of how she became blind, wasn't a huge aspect of Veronica that plagued our brains, and something we weren't exactly dying to see. However, Sister Death proves us wrong. Narcisa's story, with her battle against faith and religion, is fascinating. Her past with the supernatural is terrifying at first, until she and the audience learn that her gift is to help uncover the dark secrets of the monastery and the tortured souls that inhabit it.

A Terrifying Atmosphere

Sister Death is very light on jump scares. That's very surprising considering director Paco Plaza, the co-creator of the great fast-zombie franchise [REC] , and director of Veronica, is known for producing some of the most intense jump scares in horror history. Instead, Plaza creates an ominous atmosphere that builds up more fear than any jump scare ever could.

Sister Death continues the great tradition of religious horror codified by Rosemary's Baby and The Exorcist but existing much earlier and continuing through masterpieces like Saint Maud. Whether it's the idea of God-abiding individuals succumbing to the hands of the devil, the feeling of spiritual abandonment and isolation, or just the fact that ancient rituals, myths, and traditions can in themselves be spooky, religious horror has a very specific feeling of unease.

While it is a little disappointing that a film from Plaza doesn't have many visceral jump scares, the director more than makes up for it with his haunting imagery. Plaza offers up numerous unforgettable scenes and moments of suspense. Whether it's Narcisa spitting out two eyeballs after thinking she had eaten something else, the terrifying imagery of a ghost playing hangman, a brilliant bit of foreshadowing, or the scene where Narcisa becomes blind, there is still plenty here for fans of horror, more importantly fans of religious horror to chew on and adore.

The 20 Best Jump Scares in Horror History

While it may be a classic but overused horror trope, these films expertly utilize the jump scare in a way that continues to resonate with audiences.

The Birth of a New Spanish Scream Queen

Upon first viewing, we never expected to come out of Sister Death with a new scream queen who we can't wait to see more of. Aria Bedmar is fantastic as a young Narcisa, offering a multi-layered and powerful performance. At the start of the film, Narcisa is a scared young woman who's lost her faith.

Narcisa is constantly seen crying in incredible fear, and even at points punishing herself for doubting God. But by the end, Narcisa, thanks to Bedmar's captivating performance, grows to become a selfless, confident, and heroic character who overcomes the hidden evil inside the monastery. It's a truly strong spiritual arc. While the rest of the cast is great, it was Aria Bedmar who stole the show, and we can't wait to see what she pops up in next. Hopefully, a slasher.

A Brutal Finale

Although Sister Death is for the most part, a slow-burn, the film boasts an epic, vengeful, and brutal finale that beautifully wraps a bow around the rest of the film. After becoming blind, Narcisa soon discovers the secrets hidden inside the monastery after having visions of the past. She begins to take justice into her own hands and punish those behind the dark past of the monastery, for both herself and the spirit who suffered at the hands of the convent.

The final act is full of broken jaws, blood spewing from characters' eyes and mouths, and some gruesomely deep slash wounds. It's incredibly brutal, and a fantastic end to the already excellent Spanish horror movie .

10 Most Disturbing Horror Movies of All Time

While most horror movies are disturbing by default, these 10 films pushed the genre over the line.

Potential Sequels?

As surprising as it was to receive a prequel set in the world of Veronica , a sequel to Sister Death would be far less surprising. In fact, we would be surprised if Netflix didn't order one. While the film never really leads to anything that immediately teases a sequel, Sister Death instead offers up more of an ambiguous ending that could have infinite possibilities. Perhaps potential sequels could see Sister Narcisa investigate other supernatural cases, Ed and Lorraine Warren style . Whatever happens, we're glad we got this surprising prequel we didn't know we needed.

Sister Death began streaming on Netflix , October 27th.

Sister Death

• Movie and TV Reviews
• October 2023

After three members of a BASE jumping community—where jumpers fling themselves off mountains—die, someone asks, “What’s this stupid thing they do?” One of the jumpers we follow over seven years says, “You jump and you fall. But when you jump in a wingsuit, you fly.” And then he adds the existential question: ”Is it okay to risk for fun?” 

The documentary “Fly” brings us into the world of BASE jumpers: people who jump off very high places. It’s filled with stunning images of some of the world’s most beautiful mountains and canyons and heart-stopping GoPro footage that takes us into the air with the jumpers. It’s sometimes thrilling and sometimes horrifying as we see and hear terrible accidents. 

BASE stands for the four categories of places you can jump off: buildings, antennas, spans (bridges), and Earth (cliffs). The people in this documentary jump from cliffs or mountain ledges in some of the most beautiful places on earth, including the Alps, Korea, and Utah’s Moab. For these people, the whole world is divided into just two categories: places to jump from and everywhere else. They are almost as happy finding enticing new jump spots, which they call “exits,” as they are jumping from them. 

They are just about as binary when it comes to people. There are BASE jumpers and everyone else. Those in the first category clearly do not want to have “everyone else” lives with school, jobs, and children. It’s not a coincidence that each spouse we meet is married to someone from a different country. The jumper community is small, and the most important thing the jumpers have in common is not culture or language but a love for the adrenaline rush of flying like a bird and landing safely, so much so that they are willing to risk their lives. 

Jimmy and Marta are the heart of the jumper community. The high-spirited Jimmy tells us he is the only person who married the woman who taught him how to BASE jump. He fell in love with Marta, originally from Brazil, as he fell in love with jumping, and they founded a company that provides equipment and classes. They give an annual party like a jumper version of Burning Man. Jimmy is especially proud of finding a new and especially exciting “exit” point in Moab, which gives him the right to name it. He calls it “Dragon’s Nest.” At the annual party, they take a group photo, explicitly acknowledging that some of the people in the photo will die in jumping accidents before the next gathering.

Scotty and Julia are another American/Brazilian couple and they, too, teach BASE jumping. Scotty was in the military and had some difficult experiences but found a purpose in jumping. He says he has jumped at least once a week for nine years. Julia left her job as a lawyer to jump full-time. experiences

Espen, who is Norwegian, and Amber, from the UK, are professional competitive jumpers. As we learn in the film, while a few years ago the jumpers were outlaws, now it is a recognized sport and was even featured in the 2020 Super Bowl halftime show. Espen and Amber don’t just jump; they do a coordinated routine like synchronized swimming in the air. 

“Fly” goes a little further in acknowledging the risks and responsibility or lack thereof involved than the recent “Skywalkers: A Love Story,” but perhaps not far enough. The BASE jumpers admit that their sport is “selfish” and say they understand the risks. Some even know that it is the people left behind who experience the pain of loss. We see the impact on one member of a couple when the other is seriously injured. She wonders whether they will still have a relationship if she cannot keep jumping. And he wonders if it would be easier for him to keep jumping if she had been killed. 

The body cameras and microphones show us spectacular beauty and literal death-defying jumps. Still, they also let us see and hear what happens when things go terribly wrong, and there may be a disconcerting disconnect between our sense of dismay and the more stoic reactions of the other jumpers. The filmmakers ask two of their subjects what they want people who see the film to know in case they are no longer alive when they see it. One is willing to answer. His response is wrenchingly poignant. His choice to recognize the preciousness of every moment is not for everyone, but “Fly” can help us appreciate the urgency of finding our own.

Now on Nat Geo.

Nell Minow is the Contributing Editor at RogerEbert.com.

• Espen Fadnes as Self
• Amber Forte as Self
• Scotty Bob Morgan as Self
• Julia Botelho Morgan as Self
• Christina Clusiau
• Shaul Schwarz

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Stephen king reviews halle berry's new horror movie with 63% rt score.

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10 Horror Movies To Check Out If You Loved Never Let Go

Halle berry's new horror movie repeats an m. night shyamalan twist from 44% thriller, salem’s lot review: this vampire movie could’ve been great, but horror fans will love it anyway.

Legendary author Stephen King gives his review for Never Let Go . Never Let Go is an Alexandre Aja-directed horror film that came out in theaters on September 20. It stars Halle Berry as a mother who is trying to protect her young twin sons when a mysterious evil takes over the world. This threat leaves the trio having to stay together, even connecting themselves with ropes. In addition to Berry, Never Let Go features a leading cast including Percy Daggs IV, Anthony B. Jenkins, Matthew Kevin Anderson, Christin Park, and Stephanie Lavigne.

Now, King gives his review of Never Let G o. Taking to social media, the author wrote a concise but positive review of Never Let Go . This read " NEVER LET GO: A dark fairy tale for grownups. I enjoyed it. Halle Berry and a couple of fantastic little kids. " While the review did not directly urge audiences to go see the movie, King's comment that it was " for grownups " and that he " enjoyed it ' are recommendations enough.

What King's Praise Means For Never Let Go

Never let go has gotten mixed reviews overall.

While King's review of Never Let Go is fairly positive, that has not been the case across the board for the film. Never Let Go 's reviews have been mixed overall, with the film sitting at a 63% Tomatometer among the 68 critics who have reviewed it on Rotten Tomatoes at the time of writing. The audience score for the movie is even lower, sitting at a 55% overall score. Thus, King's review seems to be higher than what the rest of the crowd is giving it overall.

Those who enjoyed Halle Berry’s recent horror movie, Never Let Go, should check out some other films focusing on families and strange monsters.

Horror fans who respect King's opinion may be more apt to see Never Let Go after this review. Never Let Go had a slow opening weekend , making just $4.4 million. This gives the film a long way to go to recoup its $20 million budget, making for an uphill battle at the box office. King's opinion alone is not enough to change the whole trajectory of Never Let Go , but it could be a good push for some people to go see the film who wouldn't have otherwise.

Why Never Let Go Is Struggling At The Box Office

Never let go features stiff competition.

Even though King's words about Never Let Go are a good sign, it is hard for me to say whether the film can definitely recover. The main reason for its losses in its opening weekend was attributable to the continued dominance of Beetlejuice Beetlejuice . The Tim Burton sequel was no. 1 at the domestic box office for a third consecutive week, making over five times the amount that Never Let Go did. The Berry film was also edged out by the returning horror tale Speak No Evil . Never Let Go could see a second wind, but it still faces tough competition.

Source: Stephen King /X

Never Let Go

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A mother and her twin sons are trapped in their house by a malevolent force, relying on their familial bond and physical connection for safety. When one son questions the reality of the evil, their unity unravels, leading to a terrifying battle for survival in this psychological thriller/horror.

‘Sleep’ Review: Husbands Go Bump in the Night in Absorbing Korean Ghost Tale

Jason Yu’s accomplished first feature finds a likable Seoul couple beset by hostile supernatural forces, with its pleasures including a fine lead turn by the late Lee Sun-kyun. 

By Dennis Harvey

Dennis Harvey

Film Critic

• ‘Sleep’ Review: Husbands Go Bump in the Night in Absorbing Korean Ghost Tale 17 hours ago
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Hot on the heels of the spring release of “Exhuma” comes another exportable Korean ghost story, one which actually preceded that film’s home-turf run by some months. Now arriving in North America from Magnet roughly one year after its release in South Korea, writer-director Jason Yu ’s “ Sleep ” is in many respects “Exhuma’s” opposite number — a modestly-scaled domestic tale versus the outdoorsy, FX-laden, forty-minutes-longer sprawl of Jang Jae-hyun’s international hit. Both offer a satisfyingly twisty spin on “possession by angry restless spirit” terrain, leavening the suspense with wry character-based humor.

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This placid picture is first disturbed when Soo-jin gets woken by her husband’s snore — or rather its sudden absence. She finds him sitting bolt-upright in bed, mysteriously saying “Someone’s inside,” then literally falling back into deep slumber. His sleep-talking would be easy to ignore if immediately afterward there weren’t ominous noises in their Seoul apartment.

He’s diagnosed with a common sleep disorder, but the recommended treatments have little effect. Neither does a visit from a female shaman (Kim Kum-soo), who agrees with Soo-jin’s superstitious mother (Lee Kyung-jin) that what Hyun-sun needs is not medical attention but “divine intervention.” That intimidating lady thinks he’s being interfered with by a jealous ghost who wants our heroine for him/itself— away from the competing attentions of husband, pet and now newborn daughter. The paranormal entity’s actions duly grow more life-threatening towards exactly those parties. 

Divided into three chapters of about a half-hour each, “Sleep” is more clever and involving than frightening, with little use for stock genre devices as banal as jump scares. It has almost no fantastical imagery and scant violence. What it does have is a credible depiction of inexplicable events attempting to wedge apart a couple who have no intention of giving one another up. 

The leads have been cast as a marital duo before and their ingratiating chemistry feels natural, with both characters sporting a degree of slyly amusing guilelessness. Jung has attracted much of the film’s awards interest in the showier role, one she lends a humorous bent in its over-emotional display (Soo-jin cries at the drop of a hat) that gradually turns into real, edgy desperation. But Lee grounds the movie with sympathetic incredulity, and a convincingly earnest willingness to make any sacrifices on behalf of wife and child. His performance is a deft, charming epitaph to a prematurely ended career. 

Though largely limited to the protagonists’ dwelling, “Sleep” never feels theatrical or claustrophobic. Its pace is unhurried but never slack, and the production design contributions are all astute without distracting from the intimately human scale of this supernatural crisis. That very tenor of quietly nuanced effectiveness may not make Yu’s first feature a standout for fans of flashier (let alone bloodier) horror, but it distinguishes him as a new director bringing precociously refined instincts to a fantasy-thriller conceit. The careful psychological detail and well-placed plot twists in his script also impress, their universality suggesting the possibility of a foreign remake — though you can bet that any such enterprise would most likely hard-sell the genre aspects Yu maximizes by underplaying. 

Reviewed online, Sept. 23, 2024. In Cannes Film Festival (Critics' Week), Toronto International Film Festival. Running time: 94 MIN. (Original title: “Jam.”)

• Production: (South Korea) A Magnet Releasing release (U.S.) of a Solaire Partners, Lotte Entertainment, BY4MStudio presentation. Producer: Lewis Tae-wan Kim, Kim Hee-kyoung. Co-producer: Choi Moon-seok.
• Crew: Director: Jason Yu. Writer: Jason Yu. Camera: Kim Tae-soo. Editor: Han Mee-yeon. Music: Chang Hyuk-jin, Chang Yong-jin. 
• With: Jung Yu-mi, Lee Sun-kyun, Kim Gook-hee, Lee Kyung-jin, Yoon Kyung-ho, Kim Kum-soon, Kim Jun. 

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