While I’ve long had a real soft spot for these Conjuring films, when I saw The Curse of La Llorona (which apparently isn’t a part of the series according to WB, which makes no sense, but whatever), the seams were really starting to show. The formula, not only for the films, but the scares themselves, became far more obvious than ever before. It’s a bummer because I want to root for these movies. It’s hilarious that the one “cinematic universe” to have any stability outside of the stuff from Marvel Studios is a series of inexplicably R-rated supernatural horror films.
The latest addition to the series is the third film revolving around the Annabelle doll, this one being called Annabelle Comes Home. Like the previous installments, it takes place before the events of The Conjuring films, picking up not too long after the opening sequence from the first film where we discover how Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) first came in contact with the doll before eventually taking it to their room full of cursed trinkets and objects.
But the Ed and Lorraine aren’t the focus in Annabelle Comes Home, this time it’s their daughter, Judy (Mckenna Grace), who takes center stage. At least, Judy, her babysitter, Mary Ellen (Madison Iseman), and Mary’s friend, Daniela Rios (Katie Sarife). The Warrens are gone, and Judy is being taken care of for the night, which goes smoothly enough until Daniela ends up opening the case that holds the Annabelle doll, and unleashes horror upon the unsuspecting girls through the course of the night.
The setup is fantastic, bringing a significantly lighter touch to the often dour atmosphere of some of the other films since we’re dealing with a young cast, many leaning on classic coming-of-age archetypes. Not that it doesn’t bring the creeps when it needs to, but what I found so refreshing was how much more playful the film gets even when the situations get increasingly more horrific. Plus, it’s a great way to explore some of the cursed objects from the room who might not necessarily get their own spin-off. Though, not for a pack of trying.
The film is written and directed by Gary Dauberman, who has written not only the previous Annabelle films, but also the two It films. This is his directorial debut, and it’s hard to say whether or not he shows much promise because like with Michael Chaves on The Curse of La Llorona, both of these filmmakers are very clearly directing in the “Conjuring style,” which basically means “try to make it look like a James Wan feature.” Obviously, it’s hard to judge Dauberman’s work since it’s mostly stylistic imitation, but he does hold it together and keep things moving at a nice pace. The first half does well at setting up the characters, the elements that will come back later, and a pretty good series of fake outs before finally unleashing the scares when the demons and ghouls are let loose.
The scares are competently executed, even if they do get repetitive after a while. Because they’re designed to follow Wan’s usual rhythm, they rarely get to play and linger and surprise in the way Wan typically does when he’s at the helm. I wasn’t startled very often, but the film sets up a decent enough mood, and the way certain sequences play out, it’s clear the film wants to be more like a ride, like going through a haunted house. It might not be the approach some people might want, but it’s a hell of a lot of fun when it gets going. They do throw in some clever moments, like one scene where a character gets possessed, and the filmmakers realize we’ve seen this all before, so it’s ultimately resolved off-screen in a really interesting way.
What really helped make the ride so compelling is the one thing that’s been consistently great about this series – the casting. Of course, Wilson and Farmiga are fantastic, they always have been the heart and soul of these films, and while they aren’t in this film that much, what little we get is much appreciated. I was also noticeably taken off guard by a moment early on where Ed nearly gets run over by a truck, and Lorraine yells out his name just before he gets out of the way. It’s a moment I’m sure most people will miss, but the way she screamed was so primal and guttural, it felt genuine in a way I don’t normally see, which I guess is a testament to all the work they’ve put in as a couple in these films.
Moving on to the actual leads of the film, they are really good, and they’re very likable. I liked how Dauberman was able to put small moments in that gave you a deeper understanding for some of these characters. Grace has always been a supremely talented child actress, and it’s cool seeing her bring it on a project she could’ve easily phoned in on. I was moved by the notion of Judy, due to the nature of her parents’ work, is the subject of ridicule and isolation at school, to the point where she hardly has a social life, and her only real friend being her older babysitter. Iseman basically approaches the role more like a big sister than just a babysitter. She’s kind hearted, protective, empathetic, but is also just a regular teenager with her own interests outside of caring for Judy, which leads me to Bob (Michael Cimino), an awkward boy that Mary Ellen has a crush on. He’s the big scene stealer, bringing some of the biggest laughs in the film. And then there’s Sarife, who shows up, and you immediately think she’s just the troublemaker, but I like how the film slowly reveals more from her character as the film goes on. You understand her thinking, and it was affecting seeing her get some much needed closure in the final moments of the film.
With the way I’m writing, it might seem like I’m describing Annabelle Comes Home as some great triumph or something, but I wouldn’t go that far. This movie is in many ways, exactly what you expect from one of these movies, not deviating too far from the formula. So, your mileage will vary, depending on how much you like or don’t like these movies. I really enjoy these movies, and I’m particularly fond of the Warrens as characters, so there was a lot that I connected with here. I’m also excited by the notion of potentially exploring more stories with Judy, who I’m finding just as compelling as her parents, in the future (though, I don’t know if the filmmakers will go that direction, but they should). It might not be great cinema, but it’s a fun and efficiently constructed haunted house romp with characters I liked spending time with, which is frankly more than I can say about a lot of mainstream horror movies out there.