The Conjuring: The Devil Made Me Do It (2021)

The Conjuring 3: Legally, He Didn’t | 2/5

Written by Noah Dietz: 4/26/2025

Not to be dramatic, but I truly hate this one. A comedy of errors where we continue to make choice after choice that makes no sense. On top of this, the whole film is smoothed over by the weirdly specific visual look that the franchise has acquired. It’s like a version of the grey Marvel slop color palette, but instead it’s yellow so we remember it’s all set in the ’70s and ’80s. I’ll admit, I’m being slightly unfair. You could be forgiven for thinking I feel like this because I’m burnt out on the franchise after watching seven of them in a row. Though I understand why someone would think that, I promise you I also didn’t like this film when I saw it first in 2024.

This is probably the most frustrating film if you’re familiar with the Warrens’ cases, because it takes more from the real-life case of Arne Cheyenne Johnson. After opening on an attempted exorcism of David (Julian Hilliard), Arne (Ruairí O’Connor) offers to take the demon into his own body to avoid any more suffering for the child. Later, in a fit of possession, he murders his landlord. It’s revealed that the family had been cursed by a mysterious occultist (Eugenie Bondurant) and the Warrens (a returning Patrick Wilson and Vera Farmiga) do their best to save Arne while also proving in a court of law that he had been forced to commit the crime by a demon.

There’s an incredibly odd quality to this film that I can’t fully convey. It’s so clear that money went into it, but somehow we maintain a weirdly cheap feeling that no amount of technically fine shots can shake. Much of the dialogue is confusingly bad, with line deliveries that truly make no sense. On top of that we have more of a licensed soundtrack than ever before, adding to the forced era feeling. Traveling through some of our most expansive sets yet with the “Top Hits of the ’70s and ’80s” doesn’t make these movies land. It’s confusing, because even with the incredibly intentional attention to period-accurate vehicles and set dressing, there’s just so much about the atmosphere that doesn’t land.

Notably the film isn’t all bad. There are some cool moments here and there, disconnected shots that could fool you into thinking the whole thing was okay. But when a movie that’s almost two hours long can only brag disconnected cool scenes, I’m not sure what to say. That said, the final exorcism scene in the prison embodies similar elements to the first film, with harsh lighting and actually fun set work being utilized. The death of the occultist is also some fun—I’m sure it’s mostly CG, but it’s done very well and looks like a contortionist in action. Just some great moments right at the end, really helps tie it all together.

It’s important to note that the reminders that the Warrens were real people who affected the lives of other real people are heavily present. And frankly, I also wonder if their real-world actions have hurt the films made to celebrate them. Although Ed died in 2006, the uncovering of some more unsavory elements of his life in 2017 seem to have shifted the film’s trajectory. Ed has taken a back burner, pushing Lorraine up as our franchise lead. However, Vera Farmiga doesn’t have the charisma of Patrick Wilson, and the lack of balance causes the films to suffer. I’m not willing to say this is fully an acting problem. The writing pushes her front and center, but it doesn’t seem to take her seriously as an independent and competent person. Many of Lorraine’s scenes feel forced and preachy, only to end with Ed having to save the day regardless. It’s even incredibly similar to The Conjuring 2, to the point that Ed once again has his eyes obscured in the final act. We’ll see if my theory about Ed taking a back burner holds steady when the fourth installment of the franchise is released in September. Somebody else will have to tell me though, as I’m likely to abstain from spending more time with this franchise after this.