Following a triumphant theatrical run that emphatically demonstrated the unwavering allure of the Conjuring Universe, The Nun II is poised to make its digital debut on the Max streaming service, scheduled for Friday, October 27. This timing aligns perfectly with the recent PVOD premiere of Saw X, just a week prior, setting the stage for an electrifying Halloween weekend.
Under the direction of Michael Chaves, The Nun II graced screens worldwide in the early days of September, making a resounding entrance that reinvigorated the domestic box office landscape, alongside the release of The Equalizer 3. This was a welcome resurgence after a somewhat lackluster August, marked by the underwhelming performances of titles like Gran Turismo: Based on a True Story, Blue Beetle, and The Last Voyage of the Demeter.
Since its premiere, the film has amassed an impressive $84 million domestically and a staggering $257 million globally, solidifying its status as the fifth-highest-grossing installment in the esteemed Conjuring Universe.
Along its journey, The Nun II surpassed its fellow Conjuring counterparts, including The Curse of La Llorona, The Conjuring: The Devil Made Me Do It, Annabelle Comes Home, and Annabelle. While it has yet to outpace Annabelle: Creation, The Conjuring 2: The Enfield Poltergeist, The Conjuring, and The Nun, its remarkable performance stands as a testament to its enduring appeal.
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Under the skilled direction of Corin Hardy, the inaugural Nun film proudly stands as the highest-grossing jewel in the Conjuring crown, raking in an impressive $117 million domestically and a staggering $364 million globally. On the other hand, Chaves took the helm for both La Llorona and The Conjuring 3 before landing the coveted role of directing The Nun II.
Despite marketing efforts that might have suggested otherwise, Chaves has stated that La Llorona shouldn’t be perceived as part of the shared universe. Nonetheless, its triumph was enough to earn him the reins of the core Conjuring series, a decision backed by producers Peter Safran and James Wan.
