Opiniones de Metacritic

With its tight script, well-balanced characters, and bone-chilling scares, The Nun II is the first Conjuring spinoff operating at the same caliber as the franchise's core films, proving that this universe is far from played out.

The Nun II has some interesting ideas and some thrilling sequences.

The Nun II is a marked improvement on its predecessor, as the winning duo of Taissa Farmiga and Jonas Bloquet reward the faith of Conjuring fans with a scarier, meatier boarding school nightmare that makes great use of Valak the Demon Nun, even if the mythology-heavy plot specifics get a little lost along the way.

If The Conjuring Universe is a horror force you want to believe in again, then The Nun II will bring you back to the faith.

One can't help but wonder how both "The Nun" movies might've played out as original scripts without any shackles to pre-established lore ... but, at the same time, one would have to assume that neither film would even exist without those connections in the first place.

Notching up his third entry in what I suppose we’re meant to call the CCU, Michael Chaves looks alive, as often, with the set pieces.

The result is a middle-of-the-table Conjuring universe film — one unlikely to make a dent in horror history, but well-constructed, with moments of inventive imagery, and that continues to cement Akela Cooper as a writer with a clear eye for freaky fun.

It’s all so confusing. But reason is an obstacle to appreciating The Nun II. What you need, like Irene and Debra, is faith — in this case, in the power of pure nonsense.

At least the jump scares are effective, especially in IMAX theaters where the headrests rumble every time Valak makes a sudden move. That, and a couple of decent makeup tricks are pretty much all The Nun II has. The character deserves better, and so do you really.

In neglecting to vary her routine, she is not unlike the film-makers behind this ninth visit to the Conjuring universe – although “universe” is a misleadingly large word for a franchise that is impoverished in all but its box-office gross.