Grounded in the basic horror premise of Teenage Babysitters-In-Peril, Annabelle Comes Home brings things to a whole new level by having the titular dolls live in the house of Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) who has a collection of occult objects. These bits and pieces help to build what eventually an entertaining, different even touching version of the Conjuring universe. Scares are complimented with comedic relief and some good scares have been added along with some more new monsters (and/or sequel bait). In other words, very few people are going to see the movie as Annabelle Comes Home and understand that it can be such light-hearted summer horror movie where you will be terrified and laughing at the same time.
This film picks up immediately after the events of The Conjuring, but the part of the story that really matters occurs mostly in the prequel of The Conjuring 2. Lorraine in this ghost busting couple is the clairvoyant and she comes to understand that Annabelle is not only an outlet but is also drawing in other spirits. The doll is essentially Captain America who runs around yelling “Avengers Assemble” in whatever would be the spirit World as the command to other spirits.
Not every spirit is bad; however, there are spirits that are extremely malevolent. This is why in the Warrens’ collection, Annabelle is the most dangerous thing. Since it’s futile for the das that one of them must Caroline would suggest the hunt, the rather desperate hunt for any means to ‘kill’ the doll persists. Sensing this precursory growing disrespect, the Warrens immobilise Annabelle in a consecrated wicker coffin with a placard that reads Anyone who entered this room: Please do not remove her from her glass box. One thing is clear: that order is ignored.
Now again, the Warrens go on a night trip leaving Judy, their 10 year old daughter (McKenna Grace) in the company of Mary Ellen (Madison Iseman), her babysitter. She is a good young lady, thus the Warrens have no reason to be scared of anything, right? Wrong! Mary Ellen ali’s best roast Daniella (Katie Sarife) comes visiting in the early evening, and oh, she has such a curiosity to know what is in that specific room. Predictably, annabelle is set free and boom: a teenage horror movie in the 70s comebacks.
As far as the earlier Annabelle movies are concerned, they have been burdened with gory plot lines bouncing around the reasons behind a demonic being – whose only intention appears to be an eternal thirst to harvest human souls – competing with the Annabelle designated as Comes Home. This is simple. The very reason the house is said to be haunted is that it contains plenty of hauntings stuff, purposefully placed there by adult ghost chasing enthusiast. For a few reasons the characters can’t simply get up and run shouting and screaming and for a few more they are not entirely oblivious to things that go bump in the night. While the whole movie plot is based on a single character being really irrational, the movie does offer some reasons for her actions. This clear-cut plotting is welcome in a franchise where I still fail to understand why everybody thinks it’s alright to make or own a doll like this in the first place. I mean, look at it! And recall how in Cabin in the Woods how the basement was littered with things that were also cursed and just waited for the right moment to be triggered. However, thanks to Annabelle’s beacon status, this film is like that where all of them were activated at once if the characters were able to activate all of them at once.
The eerie elements gradually creep into the narrative – perhaps too gradually for the viewer’s taste. As the narrative progresses, though, some of the scares are truly innovative and gorgeous to look at. There is one such brief foray for every actor, on the one hand, over each of the many entities presented, while on the other hand, setting up probable follow-ups, like The Nun, The Curse of La Llorona or the forthcoming The Crooked Man.
In earlier parts of The Conjuring, the scariest ‘scares’ were more subtle than obvious CGI, and built through several layers of culminating horror, while in the later films, the doll terrors were the most powerful, but not the best. One of the scariest scenes from this film would be an inconspicuous object which at first glance looks harmless but you know is going to be dangerous later and when that scene comes you are not sure whether to laugh or flee
EX. ANNABELLE COMES HOME promotes fast dark and gruesome pictures of bloody bear hands ripping apart Mary Ellen’s institution but at the same time supporters of the series prepare for this sort of moment Oh, wait mental therapy that illusions enthusiasts say is only unfound in evil appetites. I’m hysterically convinced it is not all twist, and that many dark drama action is really envisioned this light-hearted style as a drama horror.
Verdict
The Conjuring franchise seems ripe for a deconstruction of the Conjuring, which is perhaps the weakest entry in the franchise. The last bullet point is particularly valid as Conjuring is a classic and in this case, very well done horror movie. One can be left feeling that there is a formula to every success which will always be hard to hit more than once, which is why it is so refreshing that Annabelle Comes Home does something different. Rather than attempting to out-terror The Conjuring, it shifts to a more funny less terrifying film with a more concise story and new creatures (some familiar to lovers of myths and urban legends) to battle. Of all the extended versions of the woman called Annabelle, Annabelle Comes Home must be the last whole rivetting release of the segment if it is to be.
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