The Nun II

There is something inherently primal about a tall, pale woman in a habit staring at you from the end of a dark hallway. It shouldn’t work as well as it does, especially ten films deep into James Wan’s Conjuring Universe, but Bonnie Aarons has a face that was seemingly sculpted by the gods of nightmare fuel. When she first appeared in The Conjuring 2, she was a cameo that stole the show. Now, she’s the anchor of a massive franchise, and in The Nun II, she finally gets a movie that feels like it’s trying to match her intensity.

I watched this while my neighbor was power-washing their driveway, and the rhythmic, aggressive drone of the water hitting the pavement actually synced up perfectly with the ambient dread of the opening scene. It was a 4D experience I didn't ask for, but it certainly set the mood.

A Sequel That Actually Learns

The first Nun movie back in 2018 was a bit of a mess—all atmosphere and no substance, like a haunted house ride where the animatronics keep breaking down. But The Nun II feels like a course correction. Much of that is thanks to the screenplay by Akela Cooper, who is quickly becoming the MVP of modern horror after her work on Malignant and M3GAN. She understands that we aren't here for a theological debate; we’re here to see a demon nun do something creative with a newsstand.

Set in 1956 France, the story follows Sister Irene, played with a wonderful, wide-eyed sincerity by Taissa Farmiga (The Final Girls, American Horror Story). She’s been living in a quiet convent until the Vatican basically tells her, "Hey, remember that demon you supposedly killed? It’s back, it’s in France, and it’s killing priests." It’s a classic "one last job" setup, but with more rosaries and fewer explosions.

She’s joined by Sister Debra (Storm Reid), who brings a skeptical, modern energy to the 1950s setting. While Irene is the believer, Debra is the one asking the questions I’m usually yelling at the screen. Together, they track the evil to a boarding school where Maurice (Jonas Bloquet)—the charming "Frenchie" from the first film—is working as a handyman. Little does he know, he’s carrying a hitchhiker in his soul.

The Art of the Scare

Director Michael Chaves, who previously steered The Curse of La Llorona and the third Conjuring installment, has a real eye for "the hidden thing." In an era of horror where CGI often replaces actual tension, Chaves uses the environment of the old French school to create some genuinely clever sequences.

The standout moment—and the one that had me leaning away from my screen—involves a rack of magazines. As the wind blows the pages, they inadvertently form the silhouette of Valak. It’s the kind of high-concept visual gag that makes the movie feel like a step above your standard studio jump-scare factory. It’s the cinematic equivalent of a loud person clapping behind your head every ten minutes, but at least they’re doing it with some style this time.

The film leans heavily into the "blockbuster horror" aesthetic. The budget was roughly $38 million, and you can see it on the screen. The lighting is lush, the shadows are deep, and the climax is a chaotic, wine-soaked showdown that feels massive. It’s not "elevated horror"—you won't find deep metaphors for grief or trauma here—but as a piece of contemporary popcorn cinema, it knows exactly what it is.

Success by the Numbers

It is wild to think that The Nun II pulled in over $269 million at the global box office. In a post-pandemic world where even massive superhero sequels are struggling, horror remains the most reliable bet in Hollywood. People want to be scared in a room full of strangers. This film didn't just succeed; it dominated its month, proving that franchise fatigue hasn't quite hit the Conjuring universe yet.

A huge part of that success is the "Monster Design" of Valak herself. Bonnie Aarons is phenomenal, conveying a sense of ancient, predatory intelligence with just a tilt of her head. I also have to give a shout-out to Anna Popplewell (The Chronicles of Narnia) and Katelyn Rose Downey, who play the mother-daughter duo caught in the crossfire. They give the stakes a grounded, emotional weight that keeps the movie from drifting into total cartoon territory.

The film does fall into the usual franchise traps. The lore gets a bit convoluted—something about the eyes of Saint Lucy and a bloodline of "seers"—that honestly feels like it was written on a napkin during a lunch break. But frankly, the plot of a Nun sequel matters about as much as the plot of a Fast & Furious movie. You’re here for the set pieces, not the logic.

While it doesn't reinvent the wheel, The Nun II is a significantly more polished and frightening ride than its predecessor. It’s a testament to how a strong director and a sharp writer can take a tired trope and breathe some fresh, demonic life into it. If you’re looking for a solid Friday night fright that looks great and delivers on the "fun house" vibes, this is well worth the 110 minutes. Just maybe check the magazine rack before you head to bed.