Quick review: Annabelle Comes Home (2019)

Quick review: Annabelle Comes Home (2019)
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Madison Iseman, Katie Sarife and Mckenna Grace in Annabelle Comes Home. (IMDb)

Directed by: Gary Dauberman. Starring: Vera Farmiga, Mckenna Grace, Madison Iseman. Runtime: 1h 46 min. Released: June 26, 2019.

Annabelle Comes Home is a solid film that in terms of quality is much better than 2014’s Annabelle but not as consistently good as Annabelle: Creation. That’s mostly because of a first hour that is just dull. It opens with Ed (Patrick Wilson) and Lorraine (Vera Farmiga) Warren picking up the titular Annabelle doll, stopping in a graveyard (in the single best scene of the first hour) and then bringing it back home. Soon, they go on vacation for most of the film and leave their daughter Judy (Mckenna Grace) with her babysitter Mary Ellen (Madison Iseman). Mary Ellen’s friend Daniela (Katie Sarife) comes over soon and she causes the conflict of the film.

Daniela’s not the smartest character in the world as she has heard what the Warren’s do for a living. In fact, everyone at school has heard what Judy’s parents do for a living so she becomes a social pariah. Anyway, Daniela explores the Warren’s “museum” where they store their cursed objects and Daniela takes Annabelle out of her box, puts her back and forgets to lock the door. Then, all hell breaks loose. It’s a horror movie decision if I’ve ever seen one, but Gary Dauberman writes it in such a way where her motives are understandable as she wants to contact her dead father.

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Katie Sarife in Annabelle Comes Home (IMDb).

Madison Iseman is fine as Mary Ellen, though she doesn’t have that much to do. Mckenna Grace is strong as Judy and I like the idea that she has some of Lorraine’s medium skillset. The cast is charming, but not a lot happens in the first hour, as the film sets everything up and throws in a couple tense scenes. It’s mostly Annabelle taunting them but around the one-hour mark, she makes Hell break loose.

When Daniela goes back into the Lorraine’s museum to return the key, the horror becomes relentless and it’s a really fun final 40 minutes. The double-whammy of Mary Ellen’s scene with the ferryman (a memorable side character akin to The Crooked Man in The Conjuring 2) that transitions directly into a light carousel scene in Judy’s room is a great stretch of horror. The different spirits and creatures that haunt them are creative and them trying to get Annabelle back in her glass case is exciting, and it’s a second half that saves that truly saves the film.

Score: 63/100

Annabelle (2014)

AnnabelleReleased: October 3, 2014. Directed by: John R. Leonetti. Starring: Ward Horton, Annabelle Wallis, Alfre Woodard. Runtime: 98 min.

Do viewers remember that creepy doll named Annabelle from 2013’s “The Conjuring?” Well, regardless of your enjoyment of her, she’s getting the origins treatment. The film opens with background that dolls can both be children’s toys and conduits for inhuman spirits.

The film, based before the account with Ed and Lorraine Warren’s case files, follows a young couple, Mia (Annabelle Wallis) and John (Ward Horton). The couple, who are expecting a baby, are one’s average Church-attending folks, and John is training to become a doctor. As a present, John gives Mia a rare, vintage doll to finish her collection. It’s Annabelle – the creepy, rosy-cheeked porcelain doll in a white wedding dress. The next-door neighbours’ daughter, Annabelle Higgins (Tree O’Toole), ran away to join a cult, and one night she returns to slay her parents. In their brutal wake, Higgins and her boyfriend also invade Mia’s house and conjure a malevolent spirit, and use the Annabelle doll as a conduit.

The haunting starts out innocently – rocking chairs and sewing machines have minds of their own. The frequently absent husband John blames it on pregnancy hormones and the anxieties of the brutal attack. When things get worse after moving from Santa Monica to Pasadena, he suggests marriage counseling – even though priest blessings seem to do a better trick. As you can tell, he’s not smart.

Mia isn’t much smarter. At one point, she gets John to throw the doll in the trash early on – but when she finds Annabelle later in one of the boxes after moving, she doesn’t think to throw her back in the trash. What’s more bothersome about these characters is that they don’t pursue anything. In one instance, Mia and John find drawings that suggest a threat to Mia’s baby, which they assume were drawn by kids in the apartment building. They contemplate asking the young children’s parents about it, but never pursue. Also: The two kids are literally the only two tenants other than Mia, John and Evelyn (a great Alfre Woodard), we see in the apartment the entire film.

Unintelligent character decisions aside, the writing isn’t half-bad. It has a lot of demonic material and the tone feels like a mix between “Rosemary’s Baby” – perhaps the character name Mia is a nod to this film’s star, Mia Farrow – and “Insidious.” The expansion of the “Insidious” universe was great. Granted, the expansion of that universe made historical inaccuracies even more prevalent. The only truth about this film is that Annabelle is an inhuman spirit and that she’s a real doll. Otherwise, it’s a fictional but creative story. The inconsistency within the Warrens universe is confusing. In “The Conjuring,” Annabelle Higgins was murdered at seven years of age; in this film, she is a satanic cultist killed in her early twenties. It’s a more malevolent origin, but it suggests a lack of care from filmmakers.

There’s some poignancy in characterization, specifically found in the character of Evelyn. There’s also psychological horror thrown in for good measure. This doesn’t make “Annabelle” a creepy doll horror in the traditional sense. It has more layers, but it doesn’t have doll catch-phrases or the pitter-patter of doll feet in the apartment. The chills “Annabelle” musters are notable in eerie imagery and basement scenes. Before the Pasadena apartment, the film is only sporadically scary. The apartment building adds a creepier vibe.

Director John R. Leonetti brings his own style to the film and emulates James Wan’s style simultaneously. He uses a lot of bizarre zooms, even in conversations. The zooms exaggerate certain physical features like a comic strip might. The zooms are indicative of both his style and experience as a cinematographer. He rouses unease with these shots, but most are empty images of her doing absolutely nothing. The heightened unsettling score is designed to offer a sense of depth that isn’t there.

Score: 67/100