Annabelle Comes Home Review
'Annabelle Comes Home' may not add much to the Annabelle mythology, but it opens The Conjuring universe up to a lot more fun spinoffs.
Release Date: June 26, 2019
MPAA Rating: R
While babysitting the daughter of Ed and Lorraine Warren, a teenager and her friend unknowingly awaken an evil spirit trapped in a doll.
Director: Gary Dauberman
Screenwriters: Gary Dauberman, James Wan
Producers: James Wan, Peter Safran
Cast: Vera Farmiga (Lorraine Warren), Patrick Wilson (Ed Warren), Mckenna Grace (Judy Warren), Madison Iseman (Mary Ellen), Katie Sarife (Daniela), Michael Cimino (Bob)
Cinematographer: Michael Burgess
Production Designer: Jennifer Spence
Casting Director: Rich Delia
Music Score: Joseph Bishara
Production
The Conjuring-verse is in full swing. Not only has the original spookfest spawned The Conjuring 2 (and the upcoming The Conjuring 3), but it has inspired a whole slew of spinoffs like The Nun and The Curse of La Llorona. The original The Conjuring spin-off, Annabelle, which featured the creepy scene-stealing doll from the first movie, has even turned into a franchise of its own with the origin story Annabelle Creation and, finally, the newest Conjuring-verse offering: Annabelle Comes Home.
Taking place in the mid-seventies, Annabelle Comes Home opens with the same scene that opened The Conjuring, with paranormal investigators Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga reprising their roles, of course) taking the demonic doll from its hapless owners to their basement museum/cursed object storage room for safe keeping, stashing it in a blessed protective case complete with an ominous “POSITIVELY DO NOT OPEN” sign.
The Warrens go out for the night and leave their daughter, Judy (Mckenna Grace, who has played the young versions of both Tonya Harding in I, Tonya and Carol Danvers in Captain Marvel), in the capable hands of their babysitter, Mary Ellen (Goosebumps 2: Haunted Halloween’s Madison Iseman). Curious about the Warren’s home, Mary Ellen’s friend, Daniela (Katie Sarife from “Youth & Consequences”) drops by and sneaks into the forbidden room of cursed objects, unwittingly releasing all of the demons and spirits that have been safely trapped in there in the process.
With producer James Wan keeping it all in his The Conjuring family, Annabelle Comes Home was written and directed by Gary Dauberman, who also wrote the screenplays for the other Annabelle movies and The Nun (as well as the recent IT remake). Although Annabelle the doll is at the center of all of the mischief, Annabelle Comes Home feels like more of a The Conjuring movie than an Annabelle one, and not just because the Warrens make an appearance. None of the main characters are as well crafted or as likeable as the Warrens themselves, but the kids are much more developed than any of the heroes were in the first two Annabelle movies, so there’s more emotional investment on the part of the audience.
There’s a Goosebumps-esque vibe to Annabelle Comes Home once the different spirits of the forbidden room are released and each decides to haunt a different protagonist. Although the demons in Annabelle Comes Home are far more frightening than the lawn gnomes and gummi bears of the Goosebumps movies, the unleashing has a similar spirit, and in the case of Mary Ellen’s unwitting little boyfriend, Bob (Michael Cimino from No Child Left Behind), it’s almost comical. Bob’s function in the movie seems to be to bring a little human heart to the proceedings – he even charmingly fumbles his way through a version of Bread’s “Everything I Own” that seems to be a bumbling homage to Ed’s rendition of “Can’t Help Falling in Love With You” in The Conjuring 2 – but what he really does best is provide a target for the coolest demon in the movie – a werewolf hellhound beast.
In case you couldn’t tell from all of this, there’s a lot going on in Annabelle Goes Home. And it does get jumbled up at times, but even when chaos reigns, the movie is howlingly fun. Sure, at times the viewer just hopes and prays that everything will come together logically in the end, and everything kind of does to an extent, but since when has logic prevailed in horror movies, especially ones in which demons and ghosts are involved?
By now, fans know what to expect from The Conjuring movies, and that’s pretty much what Annabelle Comes Home delivers. There are plenty of scares, a whole lot of tension, and just the right amount of heart. And it opens the universe up to even more spinoffs with demonic characters like a bloody bride, a possessed samurai, and the aforementioned demon hellhound. While Annabelle Comes Home doesn’t really add anything to the whole Annabelle mythology, it does help to build the bigger world. And frankly, the doll herself is freakier without knowing all of the answers. And the new Warren demons are just itching to tell their stories in future movies.
Cinematography
There is a definite look that comes with a movie in The Conjuring universe, and Annabelle Comes Home captures it perfectly. Dauberman and cinematographer Michael Burgess (who is part of the family, having shot The Curse of La Llorona, done second unit photography for The Nun, and been brought onboard as D.P. for the upcoming The Conjuring 3) make generous use of brilliant camera and lighting tricks to keep things looking as spooky as possible. In typical 2019 cinematography fashion, some scenes are too dark to see everything that’s going on (sort of like Dark Phoenix and Godzilla: King of the Monsters), but hey, it is a horror movie, isn’t it?
One particularly effective lighting gag that Burgess pulls off concerns a colored gel wheel that spins around and bathes Judy’s room in different colored light. As the wheel spins and the colors change, different shadows appear on the walls to reveal the individual spooks that are creeping round the room. It’s a clever twist on the whole now-you-see-it gimmick that is prevalent in so many horror movies, and it really helps to elevate the tension and suspense – and fear – of the movie in a way that is both fresh and familiar.
Scary Factor
Whether as a writer, director, or producer, James Wan has a distinct style of scaring people, and even his disciples have learned his lessons well. Most of the scares in Annabelle Comes Home are built in the same way as the other movies on Wan’s resume – long suspenseful periods of maddening silence followed by a surprise jump scare accompanied by a deafening sound, usually a dissonant piece of score provided by Joseph Bishara (who has also done the Insidious movies for Wan). Even though they’re jump scares, there’s nothing cheap about them. They are earned with the buildup, and they are never fake. Sure, there are a lot of horror clichés in Annabelle Comes Home, but if it isn’t broken, why fix it? The every-trick-in-the-book approach works for a movie that literally unleashes every demon in the basement. Annabelle Comes Home is terrifying, even when you know what’s coming.