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His personal vendetta doesn’t get fleshed out with long monologues about the nature of life or the expectations of a military man; it’s made manifest in the simple fact that, even given a new lease on life, he’s still gunning for the Sullys. It doesn’t necessarily mitigate every dumb move, but if I’m going to watch dumb characters it’s nice to have some humanity in them. Also making an appearance is the brave hopeful boyfriend of Mary Ellen, courageously helping fend off some of the ghoulies in an effort to woo her (there’s a hilarious conversation with a pizza delivery boy built around how he must win her heart). Nevertheless, the women prove to be capable on their own for the most part, which is mildly refreshing as far as the horror genre goes.
Language includes a use of "f--k" and a few uses of "s--t" and "balls." Teens flirt a bit, and a teen boy tries for a kiss but is thwarted. Still, “Annabelle Comes Home” isn’t entirely without its guilty pleasures. “The Conjuring” universe has always sported top-notch period costuming, and the latest chapter follows suit with Leah Butler’s skillful designs that tiptoe around the transitional looks of the early ‘70s. Dauberman also does right by the wacky humor of the franchise, which he delivers through a character named Bob, so adorably smitten with Mary Ellen that he pledges to survive his own little corner of horrors. Eventually, Dauberman hits an unexpectedly sweet note with the accumulation of various female coming-of-age stories.
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She sees dead people and that, combined with what her parents do, has made her a recluse at school. She has arrived at the Warrens to look after Judy as the Warrens are off to investigate another case. Set in 1973, one year after the events of The Conjuring, we once again see the moment where Lorraine and Ed Warren get hold of the Annabelle doll. The nurses, Debbie and Camilla, handing the doll over after relaying their own issues. It’s an intro we’ve seen a few times already, both in The Conjuring and the first Annabelle movie.
An early raid on an RDA cargo shipment features a train derailment that I smiled the whole way through, taken aback by how visceral the destruction felt. The Way of Water bridges the long gap between movies with a dense prologue that explains what happened after the resource-hungry humans of the RDA retreated from Pandora. Defecting Avatar pilot and now full-time Na’vi Jake Sully and Neytiri (Zoe Saldaña) start a family as the new leaders of the Omaticaya tribe. That family grows to include three biological and two adopted children, and it’s the driving force behind Jake and Neytiri’s decision to exile themselves after the RDA return to resume their plundering, led by the practically non-existent General Ardmore . These early scenes deliver a lot of exposition, and breeze over important details about the status quo and the nature of certain relationships.
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But “Annabelle Comes Home” proves it’s perhaps time to put the genie back in its bottle and bring this particular creepy doll series to a decisive close. Annabelle Comes Home takes the classic horror trope of Teenage Babysitters in Predicaments, and ups the ante by placing them in Ed and Lorraine Warrens’ house full of haunted objects. These familiar elements culminate in a fun, refreshing, even heart-warming entry into the Conjuring franchise.
Centered on the writings and experiences of renowned paranormal investigator Ed Warren and his clairvoyant wife Lorraine , the films’ grounding in allegedly real hauntings has been fundamental to their enormous appeal for horror fans. That impressive track record can certainly be attributed in part to the dedicated involvement of producer and originalConjuring director James Wan, who along with Peter Safran has provided consistent creative vision at the rate of almost one release a year since 2013. Once it all ramps up, however, there are some genuinely creative and beautifully shot scares.
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From there, the movie is a twisted and terrifying haunted house horror as each of the girls in the house — and Mary Ellen’s suitor Bob — are harrassed by the unleashed entities. Determined to keep Annabelle from wreaking more havoc, paranormal investigators Ed and Lorraine Warren lock the possessed doll in the artifacts room in their house. But when the doll awakens the room's evil spirits, it soon becomes an unholy night of terror for the couple's 10-year-old daughter, her friends and their young baby sitter.
Jake is no more interesting a character than he was last time around, but he does have utility here as a tough father figure for his kids to struggle to live up to. Zoe Saldaña’s Neytiri feels like the legacy character with the least to do, mostly advocating for her kids to a distracted Jake. The leaders of the Metkayina tribe, played by Cliff Curtis and Kate Winslet, are cut from a very similar cloth to Jake and Neytiri and often end up feeling redundant as a result.
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While babysitting the daughter of Ed and Lorraine Warren, a teenager and her friend unknowingly awaken an evil spirit trapped in a doll. Please do not use ALL CAPS. There is no linking or other HTML allowed. Like a queen installed upon her throne, the Warrens place Annabelle on a chair inside a locked glass cabinet as the centerpiece of their collection, followed by the local parish priest’s recitation of protective blessings and the sprinkling of holy water.
Another dubious decision ends up sidelining Wilson and Farmiga, who have effectively channeled the Warrens’ devoted personal and professional collaboration over four of the franchise’s films, in favor of focusing on the trio of young women. While they’re a capable group, they just don’t have enough life history to adequately amplify the threats they are facing, leaving superficial fear and piercing screams to substitute for genuine terror. Annabelle Comes Home picks up as the Warrens cautiously transport the doll back to their home in an early scene that reveals the premise for all the mayhem that eventually ensues. After their car breaks down outside a cemetery on a dark, mist-enshrouded country road, Annabelle’s presence in the back seat rouses the dead from their graves. Convinced it’s “a beacon for other spirits,” Lorraine attempts to warn Ed just before he almost gets run down by a semi-trailer.
You will come for the brand name, stay for the genre jolts and leave thinking about how this young woman seems genuinely haunted by this experience. That, and just how eerie the simple sight of coins rolling out of the shadows can be. Annabelle Comes Home is not out to reinvent the wheel, or to even rotate the franchise tires. It may not leave you petrified to the core, but it won’t you leave angry, and in this, the Summer of Our Perpetual Disastrous Sequel, that’s no small feat. It is a meat-and-potatoes scarefest, an oddly back-to-basics take on the ghost-story gauntlet run. Compared to the previous films, it’s worth its weight in spare doll parts.
Unexpectedly, Mary Ellen’s friend Daniela shows up on the pretext of joining Judy’s birthday celebration, although she’s really pursuing her own agenda. Still grieving over the recent death of her father in a traffic accident, Daniela has come seeking spiritual reconnection with her dad, convinced that the Warrens’ paranormal expertise can provide guidance. She attempts to interpret their work by sneaking into the locked artifacts room after stealing the key from Ed’s study and proceeds to examine closely and even touch many of the tainted objects stored there for safekeeping. The picture just rehashes the same stuff this series has already done multiple times before.
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