Directed By Gary Dauberman
Starring – Vera Farmiga, Patrick Wilson, Mckenna Grace
The Plot – Determined to keep Annabelle from wreaking more havoc, demonologists Ed (Wilson) and Lorraine (Farmiga) Warren bring the possessed doll to the locked artifacts room in their home, placing her “safely” behind sacred glass and enlisting a priest’s holy blessing. But an unholy night of horror awaits as Annabelle awakens the evil spirits in the room, who all set their sights on a new target–the Warrens’ ten-year-old daughter, Judy (Grace), and her friends.
Rated R for horror violence and terror
– Enjoyable cast. This is remarkable considering the lack of valuable exposition and laughably bad dialogue did them no favors in getting their characters over for audiences who have seen many important characters throughout the two series that are converging together. Despite a lack of meaningful screen time, Farmiga and Wilson are once again a delight to witness on-screen. The chemistry that exudes between them, as well as the grasp in confidence that each of them has over terrifying circumstances outlines the perfect protagonists for a horror film, whose greatest strength is the bond that only grows stronger with each terrifying case. The valued new addition is Mckenna Grace, who seems perfectly fit to be cast as the Warren’s daughter, thanks to her intelligence in paranoia, as well as her overall introverted demeanor that buries her in isolation at school. Grace is the constant lead on-screen, and provides frightened delivery that is decades ahead of her age, giving the film urgency where the inexperienced directing constantly lets it down.
– Seamless production design. Perhaps my favorite aspect of the Ed and Lorraine Warren films is their targeted setting of the 1970’s, which gives the production many chances at establishing something unique to the backdrops and imagery. In this film, the combination of throwback wardrobe, muscle car sedan’s, and attention to detail on the shelves is something that constantly impressed me, and established a level of accuracy for the film crew that gave us substance in the form of constant reminder. There’s a supermarket scene in the film that features an abundance of sugars, cereals, and candy to name a few, and the proper labels being used for the time fill an entire aisle of goods, further continuing the level of visual mastery that “The Conjuring 2” set the bar for. Beyond this, the soundtrack is full of decorated 70’s favorites, like “Dancing In the Moonlight” by King Harvest, and “Baby Blue” by Badfinger, to name a couple, cementing an inescapable presence of decade enhancement solidified by the lucid production value that continuously rings true.
– Cameo by comedy. There is finally some humor introduced to such a terribly bland franchise, and the results are mostly positive. The film’s script takes us through awkward teenage interaction in the form of two youths who have feelings for each other, and the way it is incorporated into this sadistic world that is happening around them brought to mind feelings of 90’s horror films, where the character’s love for each other almost feels unflinching despite everything transpiring around them. There’s a scene that pays homage to John Cusack’s performance in “Say Anything”, and the way that the young man who performs it plays it off speaks heavy reminders to the weak knees and embarrassment associated with puppy love. The humor incorporates itself without ever taking the tone hostage, and along the way I was treated to a few solid laughs that got me through some otherwise dry scenes of character interaction that often feel like they drown on for a few minutes too long.
– Counterfeit dialogue. People who watch horror movies usually associate this aspect with bad acting, but the work by the collective cast here is exceptionally positive. What hurts is these lines that are ever so evidently written by old men, and meant to authenticate that rich teenage dynamic that instead comes across as trying a bit too hard. The groaning that came with listening to these exchanges left me cringing in my seat, and created that feeling of unity between eight people in an auditorium, when you’re all feeling the same way at a particular time. One repeated line that was beaten into the ground more times than Disney remakes was a character’s nickname, who every single character shed light on in their own different way, and it got to a jaded point of overkill that practically made me scream “I GET IT!!” by the sixth or seventh time it’s mentioned.
– Pointless R-rating. This one is a mystery to me, because there is so little violence, peril, or even adult language in the film, therefore no reason why this film couldn’t have been marketed as PG-13 to open its scope up to a larger audience. The material certainly isn’t elevated because of this deeming, and I can’t point to a single scene or scare during the film that cemented this movie worthy of receiving the cherished R-rating to horror audiences. Perhaps the MPAA is getting soft as the decades fly by, but “Annabelle Comes Home” is one of the strangest uses of R-ratings that I’ve ever seen, and offers nothing of substance or reminder to plead its case. There are other 2019 horror films that did more risque visually, and they were given PG-13, so what gives?
– Manipulative advertising. If you haven’t figured it out by now, Ed and Lorraine Warren are in this film all of about ten total minutes, and considering the trailers marketed them as prominent figures in the film, it’s a shameless manipulation to say the least. Every horror franchise has one of these; a chapter in the franchise where the established stars are only used as a cameo, but are further elaborated on constantly throughout the film, reminding us of a better film that is biding its time somewhere off in the distance. This film reeks of a paycheck film for Farmiga and Wilson, who the film doesn’t even cut back-and-forth to while so much mayhem is taking place inside of this house with their daughter. It gives the usual loving couple a feeling of uncaring nature to their lack of incorporation in the film, making me constantly question why parents wouldn’t call and check in on their daughter at least once during the course of a sleepover, right after you took in this devilish doll.
– Where’s Annabelle? Speaking of manipulative advertising, we get it again in a doll character who, like her two human protagonists, couldn’t be bothered to show up to do anything except sit on a chair for the majority of the film. While this is certainly nothing different for the Annabelle antagonist, what forms because of it feels like a shameless plug for future franchise installments that puts “Justice League” to shame. We get scares and attacks in the form of other cursed materials in the Warren’s basement, taking valued time of film exposition to give each of these killers a backstory on their way to sequel solitary. If we do in fact get a bride sequel, or a sequel involving this strange fucking warewolf thing that feels like a holdover from the Dark Monsters Universe, then we will know the true intentions behind “Annbelle Comes Home”, a homecoming so lacking focus that it never feels like the most interesting antagonist in her own movie.
– Wrong road taken. In the fork in the road creatively between The Conjuring and Annabelle, this film rides with the latter for its scares department, harnessing a combination of cheap jump scares and hokey production involving no shortage of fog, that lets a franchise on the rebound down. Not only are the jump scares completely predictable and formulaic, but the Macguffins used to temporarily throw-off audiences aren’t even clever in the slightest. “Annabelle Comes Home” feels like a movie that I’ve already watched four previous times, except here the timely scares have reached Netflix level qualities of telegraphed depiction, frequently straining the pacing of the scene, as well as the attention of the audience before it lands on its scheduled destination. As a result, it’s the least scariest installment of a franchise that included a film where we didn’t actually see Annabelle move or do anything throughout the film.
– Boring. This film is barely 100 minutes, and constantly feels like it’s around 20 minutes too long, thanks to unnecessary footage left in that only prolongs scenes involving zero tension. For the first act of the film, there is one intended scare, then over thirty minutes of repetitious exchanges between characters. When the day turns to night, and we actually expect these scares, the film takes forever getting to the heart of the moment, testing our patience with false alarms and Macguffins that took a five hour road trip getting to the gas station of enthusiasm to excite its audience. Surely some of these scenes could’ve been trimmed for time, but the fact that the script doesn’t have an additional subplot like Ed and Lorraine to bounce off of and check in on from time-to-time, leaves it stranded in this one bland, lifeless setting for the duration of the film, creating an arduous task of getting to the finish line of no actual reaped rewards.
– Speaking of which, the overall lack of weight and consequences to the film is highlighted during its closing moments, in a scene where you could practically hear your cash being flushed down the toilet. SPOILERS………..You’ve been warned. Here we go. All of the film’s survivors (Essentially every character in the movie) meet at this birthday party, where it’s hinted at that they never tell Ed or Lorraine about what transpired on that one terrifying night. When a horror film ends with a secret, it means nothing of consequence or permanence emitted from it, meaning that this film could easily be wiped away from the continuity of the franchise, and not a single goddamn thing would be lost because of it.
My Grade: 3/10 or D-