‘The Nun’ Review: ‘Conjuring’ Prequel Is an Unholy Mess | AIB
“The Nun” is the third spin-off to the “Conjuring” series, centered on Valak, the spirit that was presented to us in The Enfield Case in 2016. The film directed by James Wan that reveals the past of the demonic nun Valak, who terrorized a monastery in the 1950s.
The first two spin-offs centered on the terrible doll that presented them in the prologue of “The Conjuring” (Annabelle and Annabelle: Creation), and we still have much more to see. In the Enfield case, they left us with another character who will have his own movie: The Crooked Man.
The script of The Nun is simple, the scares are classic and the resources to scare (especially the use of sound effects) are conventional. But it is not a matter of routine or laziness. Corin Hardy (The Hallow) is safe with his horror toy, he does not have the inferiority complex of the directors who believe that they should take the terror to a more distinguished dimension to stand out. It does not seek originality, but efficiency. And the nun is effective and, by honest and without complexes, accidentally sophisticated.
In the film of The Nun, Taissa Farmiga, (the sister of Vera Farmiga, the protagonist of the original franchise that gives life to Lorraine Warren) plays a novice who is close to pronouncing her vows and becoming a nun. Right at that moment, by order of the Vatican, she must travel with Father Burke (Demian Bichir) to a cloistered convent in Romania to investigate the suicide of a devout nun.
Since childhood, the novice Irene (Taissa Farmiga) suffers from gruesome visions. She always sees a demonic nun. Could her visions have something to do with suicide? Irene is to accompany Father Burke to Romania. While the novice still believes in the good, Burke, looking back on a bitter past, is completely disillusioned. But whatever the two discover in the monastery, it will put their faith to the severe test.
The nun also has its faults and, the greatest of them all is the introduction of a CGI that was unnecessary. Some sequences depend on the special effects of the computer, so its use is irreproachable, but there are others in which it becomes an annoying element because it takes you out of the movie.
The film is more exciting something as simple as dimly lighting a face under a black cloak or fiddling with the camera to avoid showing the face behind a cap is far more shocking than seeing Valak as a nun bellowing with her mouth open and bloody. We risk saying that avoiding all this, the film would be less crazy and we would have taken the dream forced to decipher what is hidden behind each shadow.
We also warn you that, for these reasons, it is much more likely that the fans will like the genre than the general public, which will be left alone with a slightly twisted plot and will not be able to decipher all those pearls that the film hides. In the worst case, it catches your attention in such a way that it does not let go until the end: it is pure tension that is maintained by giving short breaths to the viewer, and it is obvious when to squeeze and when to loosen.
The Nun, a premiere of Warner Bros., has an R rating (which requires children under 17 to be accompanied by an adult) by sequences of horror, violence and disturbing and/or bloody images.