Editorials
The Devil Made Me Do It: Ranking All Eight Films in ‘The Conjuring’ Universe, From Worst to Best
Would my horror journalist accreditation be revoked if I didn’t update my ranking of Warner Brothers’ Conjuring Universe (“Conjurverse,” to me) with every new canonical release? Of course not (because that’s not a real thing), but why not dissect totem dolls, sisterly sinners, and more possessions than Ash Williams could shake his boomstick at. What started with James Wan’s The Conjuring currently spans eight horrific entries with the promise of more to come. Missteps aside, Warner Brothers is fighting the good fight for mainstream horror releases, and under Wan’s guidance (to varying degrees), we’ve been proficiently spoiled. Plain and simple. I’m sure you’ll all agree with me and not a soul will voice any differing opinions on the matter!
Hold up. Before we get all list-happy, mind if I raise a quick point about the “Conjurverse” and horror in general? I’ll be brief—Scout’s honor.
Every year, without fail, some outlet asks readers, “Is Horror Dead?” or “Is Horror Back From The Dead?” Neither, you irreconcilably misguided dolts. Horror is, was, and will be fine. Warner Brothers couldn’t mirror Marvel’s cinematic universe formula if otherwise. The Conjuring dates back to 2013, and each year since (with some gaps) has proven that horror thrives and survives. Warner Brothers wouldn’t be acting so enthusiastically or extravagantly if horror was dead (a reported Crooked Man movie is still on the way). Likewise, the studio can also take no credit for “reviving” horror since interest in such content reaches much farther than James Wan’s grasp. The “Conjurverse” is proof that horror’s doing just fine (a $24 million domestic opening for The Conjuring: The Devil Made Me Do It in pandemic conditions), which we should all remember when we’re back to square uno with this argument.
Sorry. I feel better now—enough beating around the proverbial burning bush.
Let’s rank the “Conjurverse,” shall we?
8) Annabelle
John R. Leonetti’s Annabelle is, without argument, the “Conjurverse’s” worst and only failure. By a moonshot. It’s a late-50s sitcom episode with one psychopathic guest star, wholly content on copying Wan’s previous cinematic signatures blow-for-blow. The “half-demon-face-behind-you” jolt in Insidious. The Conjuring‘s unsettling vibrations. Leonetti has absolutely nothing to say in terms of stylistic horror that hasn’t been better established by countless other genre visionaries and Annabelle suffers mightily from this days-old stench. Spooky doll, spooky poses. We get it.
What’s worse, there’s a single scene that teases an inkling of something more competent. Annabelle’s spiritually conjoined tar-skinned demon lurking, chasing, then getting in the camera’s face. At that moment, Annabelle seems salvageable – but that’s all it is. A fleeting moment. The rest is wooden acting (sans Alfre Woodard’s B-grade, ill-fitting bookstore owner), Rosemary’s Baby inspirations, and a deflating lack of originality that so fumbles what we thought to be unstoppable momentum coming off of James Wan’s The Conjuring behemoth.
7) The Curse Of La Llorona
Michael Chaves’ introduction into the Conjurverse is…unfortunate. I’ve written over and over again how Mikki Daughtry and Tobias Iaconis’s ghost story fails the Latin American mythos of “The Weeping Woman,” and how that might not even be the script’s fault. Should whispers be true, The Curse Of La Llorona wasn’t even supposed to be a La Llorona movie until late-game choices pulled some backend strings to insert more cultural resonance into the Conjurverse. Frankly? I wouldn’t be shocked. That’s precisely how this lacking Linda Cardellini thriller presents itself.
As for Chaves’ direction, the atmosphere and structural integrity of the horror shown represents a filmmaker trying to duplicate James Wan’s talents. Where movies like The Nun and Annabelle Comes Home feel more indebted to their helmers, The Curse Of La Llorona is very much Chaves reminding us why Wan is indeed the master of this Conjurverse domain. It’s disappointingly generic, cheapens La Llorona’s inclusion, and exists without the oomph that comes with Conjurverse entanglement. There’s a reason I’ll continue to recommend La Llorona on Shudder over The Curse Of La Llorona for eternity—and why cultural representation shouldn’t be a last-minute gimmick with an Americanization washover.
6) The Conjuring: The Devil Made Me Do It
It’s impossible to view The Conjuring: The Devil Made Me Do It apart from James Wan’s first two entries because, despite the lack of numerical subtitle, this is the (fake) Warrens’ supposed trilogy ender. Michael Chaves returns to tackle the infamous defense of Arne Cheyenne Johnson, as an American courtroom first hears the words “Demonic Possession” as a plea of innocence. It’s a story that blends procedural investigative drama with satanic totems and more religious blasphemy but lacks Wan’s guidance. Chaves is still a far cry from Wan’s mastery of horror storytelling, and I still don’t know who he is as a director beyond a cog in the Conjurverse franchise.
As for the more prominent beats, Patrick Wilson and Vera Farmiga are why I’m still vaguely positive overall on The Conjuring: The Devil Made Me Do It. Do we believe the hunky and ripped Wilson can’t jog a few feet without collapsing? Not really. Do I think Chaves works well within the relationship evolution of Ed and Lorraine, especially as an emasculated Ed has to hold Lorraine’s purse as she takes point on their most dangerous encounters? Absolutely. Scares become repetitive as Chaves reworks the same fundamental “lights out, demon jumps” jolts, but Horror Mom and Horror Dad endure, even in the sappiest glimpses where Chaves tugs on our heartstrings. Liberties are taken with the real-life account versus cinematic narrative, no doubt, but we’re here ultimately for the Warrens, and with that in mind, I’m content.
5) The Nun
As Marvel movies have begun toying with varied thematic inspirations (70s political thrillers, heist laughers, hard sci-fi), Corin Hardy’s “Conjurverse” detour gets more into monster-mash aesthetics versus atmospheric dread. “The Nun”/Valak (Bonnie Aarons) returns, but Gary Dauberman’s script also brings zombified abbesses with rotting facial wounds, blood demons from Hell, ghost boys – it’s a bit kitchen sink in terms of malevolent villains, which hits upon an alternate “Conjurverse” tone that breathes fresh air. Sometimes. More than it doesn’t?
Cinematographer Maxime Alexandre is gifted Romanian architectural gold by The Nun’s locations team and not an ounce of Gothic castle broodiness is left unused. It doesn’t always translate to unmanageable scares, but with Hardy’s guidance, foggy graveyards and empty convent hallways make for a *beautiful* period throwback. Ghouls and hanging corpses earn their afterlife keep, even though Demián Bichir and Taissa Farmiga struggle to find stand-out potential given Dauberman’s sometimes messy screenplay. Flat out, there’s fun to be had with The Nun. Keyword: “fun.” The Conjuring grabs you by the throat and squeezes until blue becomes your natural skin tint. The Nun’s here for a good time – knights, serpents, and the sweet blood of Jesus Christ?
4) Annabelle Comes Home
When I say Annabelle Comes Home is reminiscent of a Halloween Horror Nights maze, that’s meant to praise the fun-filled diversion that is Gary Dauberman’s directorial debut. The Warrens have an entire room filled with artifacts tied to possessions, demons, and other unsightly nightmare creatures. Why not unleash a few and play the hits? A ferryman, a werewolf, and so many bumps in the night take horror’s formulaic babysitter setup and nails all the notes tentpole Conjuring movies don’t have time to entertain.
Annabelle Comes Home is primarily an homage to 80s creepshow chaos, but credit Mckenna Grace as Judy Warren with a meaty performance that digs into life, death, and knowing an in-between exists. For a solid three-quarters or more, we’re engaged by “The Black Shuck” or any number of villains now roaming the Warrens property. For the moments outside a rather relentless assault of freakshow ferocity? Grace proves herself such a talented little darling of the horror genre and furthers what could, and should, be a much more forgettable roll of the underworld’s dice. Curiosity kills the cat, or in this case, summons forth a small army of the Conjurverse’s not-yet-seen monsters, with an emphasis on popcorn thrills on a Friday night.
3) Annabelle: Creation
David F. Sandberg’s Annabelle: Creation is mean, creepy-doll-but-scary-this-time redemption. Lights Out proved that Sandberg could scare the bejesus out of audiences, and Annabelle: Creation confirmed just that. Red flags and false childhood confidence may be abound, but that doesn’t mean Sandberg can’t muster up some wicked telekinesis bone snaps, or scarecrow anthropomorphic attacks, or a paralyzing antique pop-gun bit. Horror jolts overpower a more mundane farmhouse paranormal story, but when Sandberg manipulates darkness for a scream – watch out.
Credit pre-teen Lulu Wilson with stealing Annabelle: Creation. The very-much-arrived actress earns her right to play protagonist after assuming antagonistic duties in Ouija: Origin Of Evil. Wilson’s wide-eyed, scampery nature feeds right into Sandberg’s hand, promoting gory reveals and morbid curiosity through pint-sized eyes. A toymaker’s folly, an orphanage bus doomed, and Sandberg’s bloodcurdling manipulations of safety make for one white-knuckled rise to relevance for the once shamed doll. Sandberg’s prequel is…*whips on sunglasses*…no lifeless dummy.
2) The Conjuring 2
The Conjuring 2 isn’t just “horror sequel” good, it’s damn-near almost The Conjuring level good. Welcome, Crooked Man! Hello, Enfield! James Wan not only delivers a successful horror sequel – hard enough as-is – but services standalone sturdiness never dependent on fan-pandering. A grander scope. Subversions of genre norms. Teeth-chattering chills and unspeakable terror. The Conjuring restricts possession punishment to a more contained home-away country setting, but Wan takes to London streets like a bat spat out by Satan’s puckered lips in terms of his mastery of horror in *any* setting. Wan’s showcased talents launch him into an upper-echelon of today’s working directors (horror or not) – and we haven’t even gotten to The Conjuring yet.
The Conjuring 2 is a daring feast for all senses, tastes, and expectancies. Creature fans benefit from the Crooked Man, who’s birthed from a spinning child’s moving picture with colorful hat and menace like a motherjumper. Enjoy your horror day or night? Wan employs frights of both the light and dark, disproving any notion that horror’s most dreadful enchantments only manifest under the moon’s glow. Janet’s (Madison Wolfe) possession, Lorraine’s (Vera Farmiga) encounter with “The Nun” painting, countless exorcism beats drenched in miraculous damnation – The Conjuring 2 deserves to be in sequel conversations with Evil Dead II, Aliens and [REC 2]. There’s your fucking hot take, internet. What now.
1) The Conjuring
Do you remember your first The Conjuring watch? I do. Opening weekend, a packed house at midnight. Me sitting next to two friends, both horror fans. My heart was racing for the entirety of Lorraine and Ed Warren’s first James Wan-ified cinematic investigation, as my appreciation for horror was redefined by one of the most viscerally chilling, monstrously moody, atmospherically gifted haunts of my moviegoing career. But even better? Having to detail some of the best scares post-viewing because one accompanying guest watched half the film through crossed fingers. The same friend who’d slug beers with me at the bar, return to one of our pads, and then select a 2AM midnight flick to sober up to (lol jk, we drank and geeked out more).
Whatever preconceived notions and “torture porn” boxes James Wan might have been painted into at one time, The Conjuring exemplifies every facet of his multi-layered filmmaking arsenal. Maybe Insidious wasn’t enough proof for you? Here comes Wan with this 5-star record breaker that masterfully manipulates shadows and silence. Keeps us nervously awake with simple claps. Destroys every fiber of calmness with flipping chairs, hide-and-go-seek demons, and unfathomable presence. Patrick Wilson. Vera Farmiga. Ron Livingston. Lili Taylor. Joey King. There’s a reason Warner Brothers invested so much money and faith into a Conjuring universe. No fluke. The Conjuring is what every paranormal exorcism flick created since dreams of growing up to be.
It’s…*back with the sunglasses*…Wan in a million.
Editorials
The 10 Most Disturbing Moments in ‘Evil Dead Burn’ [Spoilers]
WARNING: The following contains major spoilers for Evil Dead Burn.
Fans of The Evil Dead franchise have become accustomed to an excess of gore. From the low-fi horror of Sam Raimi’s 1981 original and the slapstick comedy of Army of Darkness to Fede Álvarez’s 2013 remake, which literally ends in a rain of blood, grotesque dismemberment and comedic violence are as important to an Evil Dead film as the outline of Bruce Campbell’s iconic jaw.
Sébastien Vaniček‘s franchise installment, Evil Dead Burn, follows suit with wall-to-wall violence and set pieces built around extreme carnage. As the Deadites rise once again, Alice (Souheila Yacoub) must fight to the death against her possessed in-laws hell-bent on punishing her for their family’s sins.
Co-written by Vaniček and Florent Bernard, Evil Dead Burn follows the ill-fated Price family, descendants of Dr. Benjamin Price who discovered an ancient dagger capable of sending Kandarian demons back to hell. Newly uncovered from its protective spell, this dagger has called to the evil dead and led them to the family’s ramshackle home. Keeping plot to a bare minimum, Vaniček fills nearly every scene with powerful Deadites and their dastardly acts as they torture the Prices to find the weapon. Horrific moments like a woman drinking hot wax from a lit candle and a shocking post-credits child murder don’t even crack the top ten of disgusting, painful, and disturbing carnage that floods the film.
In any other franchise, we would be listing the film’s most gruesome kills. But fans of Evil Dead know that when we’re talking about the Necronomicon, mere death is only the beginning.
10 ) Deadites Burn

Though Burn checks off all the Evil Dead boxes, its story is a franchise anomaly. Rather than possessing anyone who crosses their path, Vaniček’s Deadites have set their sights specifically on an unwitting clan, intent on recovering the powerful dagger. Resurrected from a nearby lake, Deadite Jessica (Greta van den Brink) informs us of this plan while murdering the eldest Price son. Will (George Pullar) is speeding down a deserted road when he slams into the malevolent demon standing in the middle of the road. After his car rolls off the deserted road, he awakens to find himself upside down, a strange woman lodged in his cracked windshield.
As he desperately tries to reach his phone, Jessica slowly twists her head, tearing the skin of her distended neck. Completely detached from her shattered body, the demon’s head rolls out the window and begins chanting a Kandarian curse. Will’s car bursts into flames as Jessica vows to seek out the rest of his family. While burning alive, Will learns that he is merely the first on a deadly hitlist filled with the people he loves most.
9) Dinner from Hell

Despite a remarkably streamlined plot, Vaniček hints at the Price family’s extensive dysfunction. An uncomfortable dinner erupts in aggression as they gather for lunch after Will’s funeral. Mother Susan (Tandi Wright) berates her recently widowed daughter-in-law while father Edgar (Erroll Shand) — already under Kandarian influence — blames younger son Joseph (Hunter Doohan) for his eldest son’s death. No one is safe as long-held tensions break through to the surface and family secrets ricochet through the air.
With Edgar behaving erratically, Alice and Thya (Luciane Buchanan), Joseph’s girlfriend, try to move sharp objects out of his reach. But Edgar manages to get a hold of a fork and turns his rage on the family dog. As he stabs Max repeatedly in the face, Joseph tries to pull his father away. Both are injured in the struggle and rush to the hospital, leaving Susan and Alice to deal with the corpse. A horrific moment of animal cruelty, this scene sets up a no-holds-barred film in which anyone can be brutalized. But perhaps most disturbing is the viciousness already lurking in this troubled family, barely concealed resentments that existed long before the Kandarian threat.
8 ) Bathroom Brawl

As Deadites possess the Price family, Alice barricades herself in an upstairs bathroom. She reluctantly shields her mother-in-law, despite Susan’s atrocious behavior. Almost immediately, Alice regrets this decision when the woman reveals the depths of her hatred. She rejects clear evidence of Will’s domestic abuse, continuing to blame Alice for their troubled marriage. Leaning her cheek against a scalding hot radiator, Susan submits to Kandarian possession and becomes a Deadite before our eyes. Though disturbing on its face, she seems to choose possession over an honest reckoning of her family’s dark secrets.
Now a Deadite, Susan attacks Alice with broken shards of the toilet bowl and wraps the shower curtain around her head. Scampering across the ceiling, she hangs her daughter-in-law by the neck with the plastic sheet as Alice desperately gasps for air. With only her hand free, Alice gouges Susan’s face with a safety razor, finally managing to break herself free. As Deadite Susan taunts her from the corner, Alice revs up a brush trimmer and plunges the circular blade into her shoulder and chest. We cheer for Alice as she finally pushes back against Susan’s passive-aggressive disdain.
7) The Pen is Mightier

In a sea of blood-splattered dismemberment, one scene is so tense that it makes us squirm despite its lack of visual gore. With the family’s ailing matriarch possessed, Deadite Polly (Maude Davey) attacks Alice in the upstairs hallway, pressing her face against the bush trimmer’s still blade. Insisting that Alice has caused Will’s death, Polly invites the grieving woman to avenge her child by turning on the power tool. An instant before her mother-in-law can send the blade tearing into her cheek, Alice manages to escape by jamming a shard of glass into Polly’s eye. But not before the elderly demon can deliver a cringe-worthy injury.
Though Alice struggles with all her might, Polly slowly drives a fountain pen into the younger woman’s ear canal. Ringing blots out all other sounds as Alice’s face twists in pain. We imagine a tiny object bursting through our own eardrums, puncturing the soft tissue lying beneath. Though Alice tries to extract the pen, she only succeeds in breaking it off, leaving half of the quill buried in her ear. She will eventually use tweezers to remove the tip, sparking another moment of deafening agony.
6) Chekhov’s Dishwasher

As Susan prepares for the aforementioned family meal, Vaniček drops a delicious bit of foreshadowing. While the grieving mother thaws frozen food, she absently fills an old dishwasher whose door has long since busted its latch. Reminiscent of a scene from Final Destination, the faulty appliance falls open, leaving a shelf full of gleaming forks and knives suspended a foot above the floor, just waiting for their moment to strike. After returning from a fatal incident we’ll discuss in a moment, Deadite Thya returns to the Price home, hell-bent on retrieving the powerful knife.
As she advances on Joseph, the frightened son retreats to the kitchen and brandishes a carving knife, subtly nodding to an ultra-violent kitchen scene in Álvarez’s Evil Dead. But Thya will not be deterred. Advancing on her boyfriend, the Deadite startles him into tripping on the outstretched door and impaling himself on the upturned utensils. She presses Joseph further onto the blades while he plunges a corkscrew into her throat. But even this will not stop the maniacal demon, who rips her throat open with the wine tool, dripping her blood over Joseph’s upturned face. Adding insult to injury, she marvels at his willingness to kill the woman he professed to love, casting a pall over their entire relationship. Not only gruesome and excruciatingly tense, but this moment plays into Joseph’s insecurities as the failed son of this disturbed family.
5 ) On the Lake

Evil Dead Burn begins on a seemingly peaceful lake overrun with lurking Kandarian demons. Jared (Keanu Karim) is trying to enjoy a quiet day of fishing but can’t stop his friend Leo (Victory Ndukwe) from answering the phone. Along the dock, Jared notices a bite on Leo’s reel and eventually pulls up a severed head savvy viewers may recognize from Lee Cronin’s 2023 sequel Evil Dead Rise. Moments later, Jared finds himself ensnared by reels, hooks digging into the corner of his mouth and eyelid. As the fishing line wraps around his neck, he’s dragged, screaming, into the lake.
Leo returns in the pouring rain and sees Jared desperately calling for help. He quickly boats out to save his friend, but a mysterious force pulls him down into the depths. Leo finally drags Jared back into the boat, only to see that his body has been cut in half, intestines spilling out of his bisected waist. As he struggles to make sense of this carnage, Deadite Jessica emerges from the lake and capsizes the boat, her clenched demon hands causing the water to boil. Though Leo manages to swim to shore, his skin is a blistered and bubbly mess. Deadite Jessica absently steps on his hand, easily peeling away flesh like overcooked meat. This jaw-dropping opener not only sets the stage for a brutal film, but situates the story in franchise lore while simply explaining the Deadites’ return.
4) Car Trouble

The shocking trailer to Evil Dead Burns shows the aftermath of a vicious attack. As Deadite Thya crosses the family threshold, the camera reveals a car’s headrest still impaling her face. But this devastating sight merely hints at the cruel circumstances of her actual death. Incapacitated in the disastrous family dinner, Edgar slumps in the backseat while Joseph tends to his wounds. Though seemingly incapacitated, the possessed father snaps to attention and wraps his seatbelt around Thya’s neck, pushing against the back of her seat. Joseph holds a gun to his father’s head, but can’t bring himself to pull the trigger.
As Thya tries to escape the car, Edgar viciously slams the door, severing four of her fingers. She manages to trigger a fire extinguisher, filling the car with cloudy white chemicals and giving Joseph a chance to escape. But Thya is not so lucky. Trapped in the car, she screams as Edgar pummels her with a detached headrest, stabbing the poles through her neck and face. Joseph watches from a safe distance as his father beats his girlfriend to death, knowing he was unable to save her life.
3) Head Shots

When Deadite Thya comes stumbling back home, Joseph believes he’s seen the worst. Unfortunately, his misery is only beginning. After fighting off his newly-sadistic undead girlfriend, he tries to flee with his surviving family, only to find Deadite Edgar blocking his path. Flanked by Deadite Max, Edgar taunts his son by insisting that he should be dead in Will’s place and confirming the young man’s greatest fears. Edgar then does what Joseph could not and shoots himself in the head.
The family screams in horror at this devastating sight, then freezes in stunned silence as Edgar does not fall. Grinning, the maniacal father shoots himself twice more, blowing gaping holes in the sides of his head. For the rest of the film, Deadite Edgar will terrorize his family with these unthinkable wounds, even tempting his wife with a bloody kiss. Vaniček mixes emotional devastation with gore as Joseph must watch his father’s suicide while confronting the truth of his own ineptitude.
2) Down Through the Chimney

Along with references to the beloved Ash (Campbell), it’s become tradition for an Evil Dead film to reference the franchise’s signature weapon. But Vaniček subverts our expectations when Edgar’s chainsaw is out of gas. Instead, Alice employs a rusty bush trimmer to fight off her Deadite mother-in-law. Unfortunately, the extended weapon only shreds her flesh, leaving the monstrous woman still able to fight. Trapped in the attic, Alice must clamber out of an upper window with Deadite Susan hot on her heels.
Having dropped the ceremonial knife off the third-story roof, Alice has no choice but to improvise. Toting the bush trimmer, she inches her way down the chimney, pausing to turn halfway down. As Susan follows her daughter-in-law down the chute, Alice turns on the bush trimmer and waits for impact. Vaniček brings us into the living room as buckets of blood and dismembered body parts begin to rain down over the hearth. It’s the kind of moment Evil Dead fans love, gleefully gory carnage via an unexpected power tool.
1 ) Goodbye Stranger

Despite this plethora of grisly gore, Vaniček’s final act tops the list while delivering a poignant beat of empowerment. With the house on fire and the Deadites subdued, we believe that Alice is finally safe. But as she watches the Price home burn to the ground, the corpse of her husband walks out of the flames. He taunts her memories of their abusive marriage, insisting that she stayed because she likes the pain. Demanding the sacred weapon, Deadite Will chases Alice to a construction site and into an open hydraulic press. In the fall, Alice impales her ankle on a massive spike, leaving her trapped as the pit fills with boiling hot tar.
But Alice finds the strength to save herself and pulls her ankle off the bloody spike. She distracts Will with a decoy knife, then pummels his chest with a jackhammer. Exacerbating her emotional pain, Deadite Will reminds her of his love. But it seems that Alice has had enough. She stabs him with the ceremonial blade, then crushes his head as it turns to ash. It’s a well-earned moment of empowerment as our final girl vanquishes her most powerful demon.
Vaniček’s crowd-pleaser continues the Evil Dead trend of gleefully crude massacres. Two extra scenes hint at a continuation of this gruesome massacre, promising more brutality in films to come.








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