Just a few minutes after the second half of Nun II resumed post the interval, the screen cut back to another unintended interval. Generally, this should be an infuriating turn of events, especially considering the film is the next instalment in the acclaimed The Conjuring universe. But in this case, it was a blessing in disguise, because the film was filled with stodgy moments with minimal payoffs, and I wished the film didn’t return for the second half.
In 1956, four years after the events of Nun, we see the Devil pull off a few tricks in France that results in a priest being demonically immolated. We learn that it is one of the many such demonic mishaps occurring in Europe. If Valak is back, can Sister Irene be too far away? She is joined by Sister Debra (whose explanation of her reluctance to join the nunnery has more to do with family than choice is completely glossed over) in this battle against Valak. With this as the starting point and confrontation of the Devil as the end, Nun II takes the laziest route to get from Point A to B clumsily balancing on a wafer-thin plotline. And of course, with Valak and Sister Irene in play, Maurice aka Frenchie too is back, and is working as a handyman at the girls’ boarding school, which is the epicentre of everything evil that happens in Nun II. Considering there is no suspense around who is being possessed by the devil, we are not sure why the writers choose to play around the character’s machinations, which ultimately doesn’t aid the narrative at all.
Cast: Taissa Farmiga, Bonnie Aarons, Jonas Bloquet, Storm Reid, Anna Popplewell
Director: Michael Chaves
Nun II neither attempts to take advantage of the pulpy nature of its genre, nor does it weave in a convincing and challenging series of events that leads up to the ultimate confrontation. It almost feels like a joke, and the film does great disservice to Valak, who is relegated to providing random jump scares that aren’t jumpy or scary enough. In between these, we are also introduced to a bullied student Sophie, who is studying in the convent, where her mother Kate (what a delight to see Anna Popplewell) teaches. It is almost disappointing that it is these bullying scenes with its typical play with closed doors, and random hideaways that seem to be the primary source of horror elements in Nun II.
The film feels rushed, and it tries to unpack a lot in the final act, along with the introduction of a MacGuffin in the form of a potent weapon the devil wants to get. There are hardly any memorable buildups, and the lack of refreshing payoffs are a dampener too. It’s excruciatingly slow and painfully bothersome to wait for jump scares. For instance, why spend minutes together to unravel the pages that form Valak’s impression, when the tease began a long time before? My biggest grouse with the film is also the post-credits. The Conjuring franchise’s post-credits sequences are as important as the Superhero ones. However, with Nun II we barely register the timeline of events, and it is disappointing that the film falters on this front too.
Nun II is filled with so many sub-plots and it doesn’t really tie it all together in a coherent fashion. Why is Sophie’s bullying a critical aspect? Why does Irene, who has already fathomed the Valak’s curse, need a Debra to assist her? What is Debra’s reluctance towards the clothes she is wearing not explored beyond mere dialogues of introduction? How does it help horror stories to have one bullied kid in the centre of the fight between the devil and mankind’s inherent devilishness? And more importantly, why does Valak never get its due credits despite being the titular character? Nun II has no answers for these. But for now, all I am left to say is that Valak, you deserve better and blink twice if you need rescue from the makers.
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