Respond to these rapid questions in our Annabelle Comes Home quiz and we will tell you which Annabelle Comes Home character you are. Play it now.
“Even the thought of it makes us feel uneasy.”
These were the opening words of James Wan’s “The Conjuring,” which was released in 2013 and is considered one of the most terrifying horror films of the 21st century. Before summoning its own time-spanning cinematic universe of cursed objects and malevolent spirits, the film began with these words. Those words were spoken by a couple of young nurses who were haunted by Annabelle, a bizarrely compelling collector’s item doll who had been captured by a sinister presence with the goal of eventually possessing a human spirit. It was through the 1968 case of Annabelle that we first met Ed and Lorraine Warren (played with spiritual conviction by the dedicated duo of Patrick Wilson and Vera Farmiga throughout the series). Ed and Lorraine were a pair of religious paranormal researchers who contained evil in their room of ominous conduits before “The Conjuring” began its own story. As Ed Warren put it, it was simply preferable to keep the genie in the bottle rather than destroying the doll in the first place.
I understand that this context reads a little bit like homework, as most “something-something universe” summaries do, but please bear with me. But it serves as an important prelude to the latest and only moderately creepy franchise spinoff, “Annabelle Comes Home,” which reintroduces that same genie into the world some years after the nurses successfully expelled it. In a way, this is the chronological “Annabelle” movie that we all secretly desired while watching “The Conjuring” years ago; it’s actually surprising that it took nearly half a dozen sequels and underwhelming byproducts like “The Curse of La Llorona” or “The Nun” to show us what happened when the Warrens added another item to their growing family of locked-away demons. “The Nun” is a film about a nun who is possessed Wishing that the half-baked story could meet our expectations, or at the very least follow a logical progression from the previous two “Annabelle” films.
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In this installment, directed by debutant Gary Dauberman (who also wrote the scripts for the previous two Annabelle films), we pick up right where the first scene of “The Conjuring” left off. When the Warrens learn the extent of Annabelle’s threat during a tense car ride, they decide to keep the doll in a blessed glass case in their home, away from the eyes and ears of their precocious 10-year-old daughter Judy, who is played by the soulful “Gifted” actress Mckenna Grace, who possesses wisdom beyond her years. Being raised in a haunted house by demonologists who were constantly in the news made him seem like a completely normal kid—who among us would have turned out okay if we were raised in a haunted house by demonologists who were constantly in the news?— Judy continues to be bullied at school, and she has difficulty even recruiting a sufficient number of friends to attend her birthday celebration.
Annabelle Comes Home Quiz
The Warrens are taking an overnight trip, and while most of the children are cruel to Judy, she appears to have lucked out with her affable babysitter Mary Ellen (Madison Iseman). The charming teenager is delighted to accept the responsibility of looking after the troubled child while the Warrens are away. Judy (Katie Sarife) is a gifted clairvoyant like her mother (she even has her own “I see dead people” scene), but she appears to be unusually mature about her views on death and the afterlife, at least enough to offer advice to Mary Ellen’s fiery friend Daniela (Katie Sarife), who is still haunted by memories of her deceased father. When all else fails, Daniela’s suffering is so intense that she ends up being the one to sneak into the forbidden room of artifacts in order to communicate with her father, unwittingly arousing whatever is lurking within Annabelle’s body.
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With the help of his cinematographer Michael Burgess, Dauberman quickly takes advantage of every nook and cranny of the Warren house in order to create the most eerie atmosphere possible—predictably, the well-choreographed scenes in the artifact room are among the film’s most effective. But while it’s entertaining to be in the company of an all-girls squad who must survive a sleepover fright fest, the scares in “Annabelle Comes Home” don’t go much further than creaky floorboards and teased horrors that are hidden from the camera’s view only to be revealed seconds later for generic jump scares, which is disappointing.
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However, the real issue here is a lack of a sincere story to tell. Aside from the fact that Daniela’s initial and completely implausible break into the prohibited room—which was clearly marked with various warning signs—was followed by her opening of Annabelle’s case, which was labeled with a massive “Positively Do Not Open” notice, the rest of the story makes little sense. It’s difficult for us to comprehend how such an inquisitive adolescent could be so fearless, and we have only a passing understanding of her motivations for persistently putting everyone in danger. Meanwhile, the script (also written by Dauberman and based on a story by Wan) does not bestow Daniela with the generosity of intellect. For the most part, her actions and bravery appear illogical, raising the question of why she can’t simply ask the Warrens to safely initiate a connection with her father, if such a connection is even possible.
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Despite this, “Annabelle Comes Home” contains a few guilty pleasures that are worth noting. The costumes in “The Conjuring” universe have always been of the highest quality, and the latest chapter continues this tradition with Leah Butler’s deft designs that straddle the transitional looks of the early ’70s in a subtle but effective manner. Dauberman also does right by the zany humor of the franchise, which he delivers through a character named Bob, who is so adorably besotted with Mary Ellen that he swears to her that he will survive his own personal hellscape. Eventually, with the accumulation of various female coming-of-age stories, Dauberman achieves an unexpectedly sweet note. However, “Annabelle Comes Home” demonstrates that it may be time to put the genie back in the bottle and call a halt to this particular creepy doll series.
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