The Nun feels like too much of a blockbuster with a lack of plot and focus on jump scares to be an effective entry in this horror franchise.
The Conjuring series has turned into an unlikely cinematic universe following the model that has made Marvel so successful. However, with The Nun, the fifth entry in the franchise, we’re already beginning to see some wear. The film, directed by Scottish director Corin Hardy, is on track to be the biggest film in terms of box office. It’s also the biggest film in the franchise in terms of scale, which is exactly what the problem is.
Although, The Nun isn’t the first movie in the franchise to set off in the wrong direction. Many of the problems I had with this movie seem to have started in The Conjuring 2. That movie again covered the haunting of a family, but the excessive use of CGI, a lean more towards jump scares rather than atmosphere, and a complete lack of subtlety fail to recreate the success of the original. The Nun takes those problems and amplifies them. It’s the first movie in this series that feels like a blockbuster. And that’s not a good thing.
Like any good cinematic universe, The Nun is tightly connected to the previous movies. The concept for this movie was introduced in The Conjuring 2 where a demonic nun called Valak terrorized the Warrens. In 1952 Romania, that same demonic nun is terrorizing an abbey of nuns, two of whom at the start are venturing into an area that a sign warns, “God ends here.” Eventually, one of those nuns is killed and the other commits suicide, which is what causes the Vatican to send Father Burke (Damián Bichir) and novitiate Sister Irene (Taissa Farmiga, sister of The Conjuring star Vera Farmiga) to the abbey to investigate.
The investigation, of course, doesn’t last long as paranormal occurrences almost instantly begin as they arrive at the abbey with the help of a local named Frenchie (Jonas Bloquet)—his character is one of the main problems of the movie. Unlike most of the movies in the Conjuring universe, the scares begin almost immediately in the film without much build up. However, the scale of them is too large. Even worse, they use the same formula of shot, pan to the left, pan back, and of course, something appears in the background. For a while, it’s at least a fun experience, but that fades away quickly.
To the movie’s credit, it is beautifully shot. Cinematographer Maxime Alexandre plays with light and shadow well to imbue at least some atmosphere into the movie where the direction and writing fail. There is one scene that works. Sister Irene, sleeping in the abbey after being unable to leave, wakes to find another sister kneeling facing away. Unbeknownst to Sister Irene, a crucifix begins to slowly turn upside down. It’s the slow and effective atmosphere based horror that made The Conjuring so successful. Quickly though, all the goodwill from that scene is taken away when the movie returns to its formula.
Towards the end, The Nun tries to beef up its plot and eventually connects it to the rest of the franchise, but its sins are too many to ever make it interesting. It’s disappointing considering its predecessor Annabelle: Creation was such a successful entry in the franchise. There is promise for a franchise like this, however, if it continues in this direction there may be no hope to salvage it. There are glimmers of something good. Here’s hoping we can find it through all the evil.
The Nun is available to rent or buy on Amazon!
Karl’s rating:
Hey, I'm Karl, founder and film critic at Smash Cut. I started Smash Cut in 2014 to share my love of movies and give a perspective I haven't yet seen represented. I'm also an editor at The New York Times, a Rotten Tomatoes-approved critic, and a member of the Online Film Critics Society.
2 thoughts on “‘The Nun’ review — Commits one too many sins”
Comments are closed.