The 21st century may have seen the attempted rebirth of iconic horror franchises like โHalloween,โ โA Nightmare on Elm Street,โ โFriday the 13th,โ and โThe Texas Chainsaw Massacre,โ but the most effective work of serialized terror has been the extended universe of โThe Conjuring.โ
Although director James Wan had proven himself a bold new voice in the genre with โSaw,โ โThe Conjuringโ tapped into a fascinating true story and used it as a launching pad to explore various stories of possessions, demons, and hauntings. While Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) remain the protagonists of the core series, โThe Conjuringโ has developed into an interconnected saga, inspiring multiple spinoff projects.
Itโs ironic that of all the attempts to replicate the crossover success of the Marvel Cinematic Universe, โThe Conjuringโ series managed to form a more consistent and coherent vision than DC, โStar Wars,โ โGhostbusters,โ and the Monsterverse. Even if the quality isnโt necessarily consistent, โThe Conjuringโ saga has fleshed out its own timeline, which has offered a superficial (yet entertaining) exploration of unsolved mysteries and historical ambiguities.
With its focus on a core group of characters and their discoveries, the saga has bent to the will of individual filmmakers, who seem to have been given relative freedom to pursue their specific visions. If the worst entries in the series could be described as โforgettable,โ its best installments rank among the most influential horror films of the past decade. Here is every installment in โThe Conjuringโ universe, ranked worst to best.
10. Annabelle (2014)
Of all the installments in the franchise, โAnnabelleโ stands out as the one true โcash grabโ that doesnโt have a reason to exist other than to take advantage of something that succeeded in the first film. The mythology of the Annabelle doll in the first โThe Conjuringโ film worked because it was part of a larger tapestry of supernatural terror, and served as one of the ghastly threats that the Warrens had to overcome within one of their most important investigations.
โAnnabelleโ is relatively devoid of this context, as the information it provides about the background of the enigmatic doll doesnโt add anything substantial to the mythology. However, the worst sin that โAnnabelleโ commits is that it is deathly boring, and often feels like a low-rent imitation of Wanโs style.
Although setting a horror story within the backdrop of the Charles Manson murders had a ton of potential, โAnnabelleโ simplifies any interesting questions regarding cult indoctrination and satanic panic. Itโs a relatively uneventful film that uses prolonged sequences with occasional jump scares to pad out the running time, with many key scenes feeling largely indistinguishable from one another.
When considering how sensitive and focused the prior film was in carving an interesting family dynamic, it’s disappointing that โAnnabelleโ has nothing to say about the plights of parenthood, as there is nothing about the relationship between Mia (Annabelle Wallis) and John Form (Ward Horton) that is remotely interesting. Outside of a strong performance by Wallis, โAnnabelleโ is only worthwhile for true competitionists of the franchise.
9. The Curse of La Llarona (2019)
Itโs up for debate whether โThe Curse of La Lloronaโ should even be considered to be part of โThe Conjuringโ mythology, as its only connection to the broader universe is an appearance by Tony Amendola as Father Perez.
While some have argued that is isnโt a โtrueโ installment in the series, โThe Curse of La Llaronaโ was still produced by Wanโs production company, Atomic Monster, and served as the directorial debut of Michael Chaves, who would go on to helm โThe Conuring: The Devil Made Me Do It,โ โThe Nun II,โ and โThe Conjuring: Last Rites.โ That being said, it’s understandable why fans of โThe Conjuringโ would be so keen to dismiss it, as thereโs absolutely nothing about โThe Curse of La Lloronaโ that is remotely memorable.
The only thing that โThe Curse of La Lloronaโ has in its favor, and what makes it slightly superior to the first โAnnabelleโ film, is that it takes the franchise in a different direction by focusing on a Latin American myth and how it came to haunt a Hispanic family. While there are a few creative visuals utilized, โThe Curse of La Lloronaโ still feels like it imitates the family possession concept of โThe Conjuring,โ but lacks any of the specificity and patience that made Wanโs approach more novel.
Thereโs seemingly no internal logic, as characters will recover from trauma when ghastly images appear. While Linda Cardellini does her best to give a compelling maternal performance, her strong efforts arenโt enough to make the film any more watchable.
8. The Nun (2018)
After โAnnabelleโ turned into a successful franchise of its own, Warner Bros. tested its luck once more with โThe Nun,โ another prequel that centered on the sinister demon Valak, who had been a standout in โThe Conjuring 2.โ Itโs to the filmโs credit that โThe Nunโ doesnโt feel derivative of โThe Conjuring,โ as it instead chooses to set its story within a Roman Catholic monastery in 1952. Replacing the earnest marital dynamic of the Warrens is a compelling master-student relationship between Father Burke (Demiรกn Bichir) and the novitiate Sister Irene (Taissa Farmiga), who are dispatched to investigate a bizarre series of murders that seem to have supernatural causes.
โThe Nunโ is sadly held back by its reliance on jump scares and a lack of internal logic, as the film often makes narrative choices that exist to surprise the audience, but lack any substantial explanation. Nonetheless, its embrace of the Gothic setting, as well as a genuinely creepy atmosphere, is a nice change of pace for a franchise that works well when it digs into religious paranoia.
Even if it offers a fairly generic message about faith being rewarded, there are enough surprisingly graphic moments in โThe Nunโ for it to be engaging over the course of its mercifully short 96-minute running time. Thereโs nothing about โThe Nunโ that will stand the test of time in the same way that โThe Conjuringโ films have, but it’s a modestly entertaining exercise in style that is easy to forget entirely by the time that the credits wrap up.
7. The Conjuring: The Devil Made Me Do It (2021)
The third entry in the main series may have brought back the Warrens for a third adventure, but โThe Conjuring: The Devil Made Me Do Itโ lost Wan as a director. He had instead chosen to helm the critically underrated โMalignant,โ which was almost instantly heralded as a cult classic. Wan had clearly excelled in centering each story around one family and the haunted house that they inhabited, but director Michael Chaves (who also helmed โThe Curse of La Llorona,” โThe Nun II,โ and โThe Conjuring: Last Ritesโ) instead chose to transform the series into an investigative mystery.
It was an interesting way to show the newfound authority that the Warrens held, but โThe Conjuring: The Devil Made Me Do Itโ suffers from victims, suspects, and bystanders who are simply not interesting. While the Warrensโ ability to connect with the other characters made up the emotional backbone of the first two films, โThe Conjuring: The Devil Made Me Do Itโ rushes between supporting cast members to produce an increasingly forgettable series of scares.
Wanโs absence is most clearly felt in the execution of scares, as โThe Conjuring: The Devil Made Me Do Itโ rarely lingers in a single sequence long enough for there to be any significant suspense. Nonetheless, Wilson and Farmiga are such compelling screen presences that their presence is enough to make โThe Conjuring: The Devil Made Me Do Itโ an emotionally involving experience, which even manages to hit some surprising emotional moments as it reflects on the legacy of its predecessors.
6. The Nun II (2023)
โThe Nun IIโ is a sequel that often feels like a remake, as it essentially reworks the narrative of its predecessor, with Sister Irene now serving as the mentor to the younger Sister Debra (Storm Reid). While โThe Nunโ spinoff series has yet to move past Valak as its primary antagonist, the second installment at least takes a chance in setting the story in a slightly larger boarding school, in which the protagonists are tasked with protecting the next generation of the faith from corruption by supernatural forces.
The increased budget is notable in โThe Nun II,โ as the film has the time to explore the reclusive, restrained culture within the monastery, which inadvertently makes its inhabitants vulnerable to subjugation.
Farmiga gives another strong performance and appropriately adjusts to playing a character who has been made wiser by her experience, even if she is still burdened by trauma. Nonetheless, its ambition to offer more than a distraction within the borders of โThe Conjuringโ universe results in an overcomplicated narrative that often writes itself into corners with less-than-satisfying conclusions.
Even if itโs a significant change-of-pace from โAnnabelle,โ โThe Nun IIโ isnโt offering anything new within the religious horror subgenre that Ken Russell or William Friedkin hadnโt already perfected. Itโs less than the sum of its parts, but โThe Nun IIโ does signify that Chaves has found his voice as a filmmaker and is willing to develop an in-house style that honors the template Wan had already established. If nothing else, it left the door open for an even stronger third entry in the series to potentially take even greater risks.
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5. Annabelle Comes Home (2019)
After โAnnabelle: Creationโ proved that the spinoff series had potential as an anthology saga, โAnnabelle Comes Homeโ became a strange โlegacy sequelโ of sorts that tied the mystery of the doll back into the Warren family. Although Wilson and Farmiga have notable cameos and actually have more to do than what they were given in โThe Conjuring: The Devil Made Me Do It,โ โAnnabelle Comes Homeโ became an old-fashioned teen supernatural frightfest in the vein of โChristineโ or โFright Night.โ Itโs by far the most traditionally entertaining entry in the entire universe, and serves as the only way for the โAnnabelleโ series to justify its existence.
While โThe Conjuringโ films require a more grounded family story with significant emotional consequences, โAnnabelle Comes Homeโ embraced a sillier side to the unusual premise and benefited from its more contemporary setting. โAnnabelle Comes Homeโ marked the directorial debut of Gary Dauberman, a long-time writer within the series who would also go on to direct the HBO Max original โSalemโs Lot.โ
While the film does struggle to be genuinely scary, as there are few moments of visceral imagery that are memorable, โAnnabelle Comes Homeโ benefits from a zippy pace and a willingness to add humor. Mckenna Grace is a charismatic young lead who offers a different type of protagonist for the series, and thereโs enough internal logic to make the playful third act an absolute blast to watch. When considering where the first โAnnabelleโ started off, it’s remarkable that โAnnabelle Comes Homeโ is as good as it is.
4. Annabelle: Creation (2017)
โAnnabelle: Creationโ is by far the most surprisingly great entry in the entire franchise, as the failures of its predecessor were enough to convince Warner Bros. and Atomic Monster to take a completely different direction by plunging deeper into the past than the series had ever gone before.
Set in the early 1950s, โAnnabelle: Creationโ explores the origin of the titular doll and how the tragic death of a child placed a curse on the couple, Samuel (Anthony LaPaglia) and Esther Mullins (Miranda Otto), even when they attempted to welcome new orphans into their lives. By removing the series from technological trappings or outside interference, โAnnabelle: Creationโ became an aesthetically dynamic, astute examination of the splintering American family, and managed to say something profound about the parasitic impact of grief.
Stepping into the directorโs chair was David F. Sandberg, whose directorial debut, โLights Out,โ had offered a similarly inventive mix of dark family history and entertaining set pieces. Sandberg finds a way to develop surprisingly involving characters who generate empathy, but never attempts to dial up the โprestige horrorโ perspective in a manner that would feel pretentious.
This is still a haunted house movie of sorts, and one that isnโt opposed to showing children in peril. โAnnabelle: Creationโ proved that โThe Conjuringโ franchise could serve as a platform for emerging horror filmmakers to put their own spin on a malleable, interconnected universe, but itโs also a highly entertaining frightfest when viewed as a standalone entity. Hopefully, it will not be Sandbergโs last addition to the series.
3. The Conjuring: Last Rites (2025)
Chaves showed a surprising improvement as a filmmaker with โThe Conjuring: Last Rites,โ the presumably final chapter in the core story of the Warrens, which harkened back to the more grounded aesthetics of the first two entries in the series. Rather than trying to develop an even more ridiculous and powerful villain, the fourth film in the core saga gets personal, as it shows an aging Ed and Lorraine who have considered giving up their careers as paranormal researchers.
What draws them back into the fold isnโt just a family in need, but the whims of their daughter, Judy (Mia Tomlinson). Having inherited her parentsโ desire to save people, Judy becomes an active part of the narrative, putting Ed and Lorraine in a vulnerable position, unlike their previous exploits. It’s set up in the riveting opening scene that a young Ed and Lorraine (who are thankfully played by real actors, and not de-aged CGI deepfakes) almost lost their daughter, and have considered every moment since to be a miracle.
The religious undertones of โThe Conjuring: Last Ritesโ are less pronounced, as both the Warrensโ storyline and the family theyโve come to assist face a crisis where parents must choose the best way to support their children. Although this means that the Warrens must learn to let go, it also means welcoming Judyโs boyfriend, Tony, played by Ben Hardy in a very charismatic performance. By engaging with the charactersโ legacy in real time, โThe Conjuring: Last Ritesโ ends the series with a wholesome emotional climax.
2. The Conjuring (2013)
Although the horror genre wasnโt necessarily absent from American cinema in 2013, it had faced a decline from the spotlight, as it became easier to distinguish true arthouse projects from the more generic fare aimed at general audiences. Wan has always been a fascinating filmmaker who has managed to incorporate transgressive ideas into commercial material, and โThe Conjuringโ is an old-fashioned haunted house story that is completely committed to its period setting.
Produced on a modest budget of $20 million with a relatively mysterious marketing campaign, โThe Conjuringโ became a different type of horror blockbuster, even if it technically preceded the โprestige horrorโ trend by a few years. While it brings back the sort of ghostly demons, possessions, and dark mysticism that hadnโt been at the forefront of the genre since the 1970s, Wan succeeded in capturing a dread-inducing atmosphere of paranoia that became more than a series of cheap thrills.
Wilson and Farmiga offered a fascinating perspective as to what real paranormal investigators might act like (even if the notion that the film is โbased on a true storyโ is bogus), but it’s the heartwrenching look at how a malevolent spirit has disrupted the domestic life of a closely-knit family that made the film so engaging. Clever, well-produced, and effective in its most disturbing moments, โThe Conjuringโ reignited the industryโs obsession with supernatural horror and distinguished Wan as one of the best studio filmmakers of his generation. The fact that โThe Conjuringโ still inspires knock-offs and retreads speaks to its remarkable lasting power.
1. The Conjuring 2 (2016)
Horror sequels face a similar track record as comedy sequels, as it can be very hard to strike lightning twice without feeling derivative. Even if โThe Conjuringโ served as a great launching pad to meticulously study the paranormal, its sequel crafted a more creative array of scares and featured a more emotionally gripping family drama.
Although Ed and Lorraine are dispatched to London to investigate a series of terrifying possessions within the home of a kindly couple and their four children, their greatest threat is even more personal. Lorraine has begun to fear for the life of Ed, and her anxieties are elevated as they consider starting their own family. โThe Conjuring 2โ asks if it’s possible to ever be prepared to raise a family in a world overrun by danger, as both the Warrens and their clients are taken advantage of because of their compassionate nature.
Itโs a timeless story thatโs carefully threaded into the 1970s era of paranoia, and the sequel plays into the significant difference in socialization between America and England. While the film often feels like an epic, as it runs for a massive 134 minutes, there isnโt a scene wasted. When Wan isnโt terrifying his audience with even the most minor of movements, the observations about cursed families and locational history deepen the filmโs understanding of what it truly means to be โfreedโ from an evil entity. โThe Conjuring 2โ is both one of the best horror sequels ever made and the apex of Wanโs filmmaking abilities, as it has set a standard for the franchise that it has yet to usurp.