Directed by Corin Hardy
Starring – Demian Bichir, Taissa Farmiga, Jonas Bloquet
The Plot – When a young nun (Bonnie Aarons) at a cloistered abbey in Romania takes her own life, a priest (Bichir) with a haunted past and a novitiate (Farmiga) on the threshold of her final vows are sent by the Vatican to investigate. Together they uncover the order’s unholy secret. Risking not only their lives but their faith and their very souls, they confront a malevolent force in the form of the same demonic nun that first terrorized audiences in ‘The Conjuring 2,’ as the abbey becomes a horrific battleground between the living and the damned.
Rated R for terror, violence, and disturbing/bloody images
– Eerily effective musical score from Abel Korzeniowski. If it isn’t enough that the musical composer’s name is Abel in a film surrounding religion, the wise decisions that he takes in crafting that authentic convent feel moves the atmosphere and tone miles in terms of the inevitable doom they channel. Abel combines these richly dark and ominous tones with the inclusion of an all-male choir, to make it sound like echoing hymns throughout the hallowed halls, and its power is greater than most of the supposed scares in the film.
– Detailed production in set pieces that spare zero expense. What transcends the film from being just another watered down sequel is the attention to eye-popping props and on-location (Romania) shooting that sprinkle its vital investment into this story. Beyond this being just a scary place, it’s one that works for the dimming of natural light whose shadow work messes with your mind on several occasions, as well as the time that went into perfecting uses for even the minimalist of scene time. The graveyard full of crosses feels like it stretches miles, speaking volumes not only to the rich tradition of this convent, but also Valek’s menacing powers that have ended many lives.
– Art imitating life? It’s interesting that both Farmiga sisters, Vera and Taissa, have both appeared in this series of films, albeit in respectively different films. For the younger Farmiga, she is every bit as rich in haunting facial reactions as her big sis, but it’s more in her character’s inexperience with true evil that crafts her performance as something entirely different. As Sister Irene, Taissa rarely needs to scream to keep a grip on the attention of the film, instead being the glaring line of conscience between our world and Catholicism that is tested every foot along the way.
– Uneasiness with simply imagery. When this film isn’t trying to be full of unnecessary jump scares, the unsettling depictions of faceless nuns slowly walking in A rhythmic trance gave me constant reminder of what this film could’ve been if the studio just trusted the atmosphere in tension that has been built across five movies. It properly sets the mood for the film you were promised, but unfortunately lives up with much else, because it would rather aim for the same tropes that is all the craze in modern horror.
– Justification among its counterparts. The ending of the film, while a mess creatively for this lone chapter, does fit in perfectly with ‘The Conjuring’ universe, and does instill strong replay value for the films before it. One scene in particular takes us back to a scene in the first Conjuring movie, neatly tying the two sides together without it feeling like a great suspension of disbelief.
– Why is this rated R? Push aside the Academy’s grading that I typed above, and you have a lack of emphasis overall with the coveted R-rating that other horror films so desperately require. Because of the often times blurry surroundings, there’s little distinguishable blood, and there’s nothing too disturbing in violence that would otherwise make me think this isn’t a PG-13 film. This feels like a mistake more on the Academy’s part, but the film itself does very little of risk to warrant this designation.
– Terribly bad A.D.R. It’s almost become typical of me to spot instances here and there in a film where lines of dialogue don’t match that of the proper lip movements that come from their actors, but in ‘The Nun’ that game gets taken to a whole other level. I’m not sure if the sound mixer was asleep at the wheel, but there were two scenes where a character is talking aloud without actually speaking in vision. The film thinks if it hides this character in the background it won’t be noticeable, but that couldn’t be further from the truth, and these instances aren’t strong enough to be considered sloppy, they are downright amateur.
– Continued dependency on jump scares. This is beginning to get to the point where it’s every bit as formulaic as it is anti-climatic. While there are bigger offenders of the cliche, ‘The Nun’ goes to the well eight times too many with ineffective jump scares that can easily be telegraphed from a mile away. It’s typically when a scene’s sound goes from seven to zero in a split second, but there’s something additional even more conflicting here. The camera work and shot composition repeat on more than one occasion for these jump scare scenes, and that redundancy speaks volumes of the laziness that comes across in too many jump scares that don’t warrant the sound that comes from them.
– Inconsistencies of the rules. There are too many examples to cite here, so I will just say my favorite. Valek herself fears crosses in her vision, often times disappearing when she comes into contact with one. In this regards, she can be easily compared to the rules of a vampire. So why then are there not only several instances of crosses in plain view that do nothing, as well as how she can touch and even harm these blessed holy characters without something of harm coming to her. You had one rule for your antagonist, and you even messed that up.
– Without question, the most offensive aspect of the film to me is how it unabashedly rips off scenes and storyboards from other movies without shame. Throughout the film, there are unavoidable instances with films like ‘The Exorcist’ or ‘Silent Hill’, but the biggest offender to me is that of ‘Tales From the Crypt: Demon Knight’. The producers of this film must have a lot of faith that no one saw that movie, and they’re probably right, but to completely lift the entire ending from that movie is shameful to say the least, and proves that ‘The Nun’ never comfortably follows its own path.