Respond to these rapid questions in our The Nun quiz and we will tell you which The Nun character you are. Play it now.
A little bit of The Nun goes a long way in terms of effectiveness.
Known for her piercing yellow eyes beneath her habit and her ravenous, bloodthirsty fangs, The Nun was a deeply unsettling image that appeared in brief but effective glimpses throughout the “The Conjuring” films. Now, we have an entire film devoted to her: the appropriately titled “The Nun,” which serves as both an origin story for the entire franchise and a standalone film in itself. And, over the course of a film, a presence that was initially disturbing becomes repetitive and almost predictable, to the point of being predictable.
It’s similar to the Minions in some ways. (Please bear with me on this.) The Minions were the most amusing characters in the “Despicable Me” films. When they appeared in their denim overalls and dazed expressions, or when they spoke in gibberish or were otherwise incompetent, they provided quick blasts of endearing lunacy. However, when a whole movie about them was released in 2015 (again, appropriately titled “Minions”), it became a little tedious pretty quickly.
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I’m not suggesting that The Nun is a literal evil version of a Minion, despite the fact that she does wear a uniform and runs around wreaking havoc and carrying out her master’s instructions. The shallow nature of these crucial supporting characters, however, is reminiscent of the shallow nature of the main characters when a feature film is devoted to them.
The Nun Quiz
However, director Corin Hardy’s film, which is based on a screenplay by Gary Dauberman, who wrote the screenplays for “It” and “Annabelle,” does not lack for atmosphere. With its candlelit stone passageways, creaky sound design, and mesmerizing tones of deep, droning chants, “The Nun,” set in a remote abbey in 1952 Romania, captures your attention with Gothic dread right away. The overgrown grounds, which are scattered with improvised wooden crosses, are shrouded in fog. Throughout the film, a sense of dread pervades the atmosphere. This place is cursed, and no amount of prayer from well-intentioned young nuns will be able to restore it to its former glory.
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In the film’s dramatic opening scene, one of these devout, promising ladies commits suicide by hanging herself from her bedroom window. The Vatican dispatches demon hunter Father Burke (Demian Bichir) and Sister Irene (Taissa Farmiga), a novitiate on the verge of taking her final vows, to determine what forces are wreaking havoc on this sacred site. Farmiga, the younger sister of Vera Farmiga, who played supernatural seer Lorraine Warren in the original “Conjuring” movies, is cast as young Irene, who has a history of seeing visions. In a clever touch that unites the series, Farmiga is cast as Irene because she has a history of seeing visions. The younger Farmiga possesses a steely presence and an air of authority that is similar to her older counterpart.
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Burke and Irene are joined by Maurice (Jonas Bloquet), a flirty French-Canadian farmhand who goes by the nickname Frenchie and works on the family’s farm. He serves as their guide, provides much-needed comic relief, and warns them that they are about to enter the Dark Ages, which they do not want to happen. He, on the other hand, has no idea how dire the situation will become.
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The Vatican’s emissaries are attempting to interview the remaining nuns in order to determine how such a tragic and sinful fate could have befallen one of their own. It is a difficult and thankless task. However, they become stranded in one section of the abbey when the massive metal gates close for the night, or they discover that the sisters are observing a mandatory period of silence until sunrise. They appear to be spinning their wheels, and we have the impression that we are as well. In the midst of everything, The Nun (Bonnie Aarons) stalks the dark corridors, an enigmatic yet menacing presence. At first, catching a glimpse of her habit is beneficial for a quick jolt here and there. Hardy, on the other hand, repeatedly employs this strategy, showing us The Nun—or, perhaps, just A Nun—kneeling in prayer from behind or from the side, or sneaking up on someone while concealed by reams of black material. This cheap thrill occurs on a regular basis, almost like clockwork.
As a way to liven up the atmosphere in this claustrophobic and clammy setting, Hardy employs some visual acrobatics; a couple of the overhead shots are particularly effective, particularly one in which Irene, dressed in her white habit, is surrounded by her fellow nuns, all dressed in black and kneeling in desperate prayer. However, by the end of the film, “The Nun” has transformed into an almost entirely different kind of film, a puzzling “Da Vinci Code”-lite, which I realize is a redundant phrase. In the end, we are confronted with a full-frontal Nun—more Nun than you can shake a cross at—but even while she is right in our faces, it is unclear what she wants beyond simple possession.
The “Conjuring” films, particularly James Wan’s original two films (and less so the “Annabelle” prequels), stood out from so much other demon-themed horror because of their well-drawn characters, strong performances, and powerful emotional underpinning, which set them apart from the rest of the genre. In comparison, “The Nun” feels like a stale thrill ride with no real payoff. Upon exiting and getting off the elevator, you may still feel dizzy, but you will have forgotten what caused it to happen.
For more personality quizzes check this: Oceans Eight Quiz.
