Annabelle Comes Home (2019)

Director: Gary Dauberman

Cast: Mckenna Grace, Madison Iseman, Katie Sarife, Patrick Wilson, Vera Farmiga

Screenplay: Gary Dauberman

106 mins. Rated R for horror violence and terror.

 

The Conjuring Universe had a big year with the release of the distantly-related The Curse of La Llorona and the film we’re going to talk about today, the third film in the Annabelle series and the seventh film in the universe, Annabelle Comes Home. How does it fit within the framework and does it successfully continue expanding the franchise mythos? Let’s find out.

Ed (Patrick Wilson, The Phantom of the Opera, Aquaman) and Lorraine Warren (Vera Farmiga, Up in the Air, Captive State) have taken possession of the haunted doll Annabelle, and now she sits within a glass protective case in a locked room of their home. No one is allowed access. When they depart on an overnight trip for work, their daughter Judy (Mckenna Grace, Gifted, Captain Marvel) is left with babysitter Mary Ellen (Madison Iseman, Jumanji: Welcome to the Jungle, Goosebumps 2: Haunted Halloween). They are both well-aware to stay away from the room and its many dangerous items, but Mary Ellen’s friend Daniela (Katie Sarife, Twisted Sisters, TV’s Youth & Consequences) comes over and inadvertently leaves the room unlocked. Now, the spirit attached to Annabelle has awakened everything that resides in the room, and it’s up to Judy and Mary Ellen to survive the night and get Annabelle back in her case.

My biggest criticism of Annabelle Comes Home is that I didn’t find the film scary at all. That’s not a big fault on it because, while not being very scary, this installment is loads of fun. I loved visiting the many different corners of creep within the Warren’s protection room. I really liked the new additions of the Ferryman and the Samurai warrior of the Oni (though I’m not yet convinced that either one could carry its own film), and there are a lot of cool setups and sequences in the film. I kind of wish that the werewolf was saved for The Conjuring 3 because it has a really cool story attached to it and could’ve made a really cool standalone film, but that’s not where The Conjuring 3 is going now.

I think part of the problem with the lack of tension and fear in the film is the director, Gary Dauberman. Dauberman is known for having a hand in a lot of horror in recent years, including several other Conjuring Universe films and It, but he’s never directed, and I don’t think he was as successful in building the tension. He has the ability to create fear on the page, but he needs some more practice on creating it on the screen.

I really liked the dynamic between Judy and Mary Ellen. I think Mckenna Grace and Madison Iseman have great chemistry, which is very good considering so much of the film relies heavily on these two performances. On the other hand, I was less than impressed by Katie Sarife. It’s a mixture of some poor writing for the character, making her a bit too unlikable, and the performance, which just didn’t do anything for me.

I like the addition of Ed and Lorraine Warren to the story. I think, while not starring in the film, they add a layer of validity to the story and really help to bring this whole universe together. It always felt to me that The Conjuring films were seen as higher importance because Ed and Lorraine never appeared in the other films, but I think that the way they are utilized here really helps with the connective tissue that a universe thrives on.

Annabelle Comes Home is in the middle ground of the Annabelle series and the Conjuring Universe as a whole, and this sounds like a criticism, but it really isn’t. I had a lot of fun watching the movie, but it doesn’t capture horror the way both Conjuring films or the superior Annabelle: Creation did. It’s still miles ahead of the first Annabelle film, showing that the filmmakers know how to learn from their mistakes, and it creates a bright new avenue for where this franchise can go next. Check out Annabelle Comes Home for all that creepy Night at the Museum-level fun.

 

3.5/5

-Kyle A. Goethe

 

 

For my review of Corin Hardy’s The Nun, click here.

For my review of David F. Sandberg’s Annabelle: Creation, click here.

For my review of James Wan’s The Conjuring, click here.

For my review of Michael Chaves’s The Curse of La Llorona, click here.

For my review of James Wan’s The Conjuring 2, click here.

[Early Review] The Curse of La Llorona (2019)

Director: Michael Chaves

Cast: Linda Cardellini, Raymond Cruz, Patricia Vasquez

Screenplay: Mikki Daughtry, Tobias Iaconis

93 mins. Rated R for violence and terror.

 

I had one major question about the marketing for this movie before I went in, and I left with that same question: why the hell did they not market this film as a part of The Conjuring Universe? It states on most of the material that the film has the same producers and studio as The Conjuring, but not once in the marketing is expressly stated. I just don’t get it. This film is not like Captain Marvel or Aquaman where you have the understanding going in that it naturally connects to a shared universe, so why the hell not use that angle in your marketing?

The Curse of La Llorona, based on Mexican folklore, follows Anna Tate-Garcia (Linda Cardellini, Avengers: Age of Ultron, A Simple Favor), a widowed social worker and mother of two who is searching for foul play in a tragedy involving a case she has worked for some time. As she probes for information about the tragic events, her family begins to see supernatural horrors in the form of a weeping woman called La Llorona who has now targeted her kids. When the church is unable to help her, Anna turns to Rafael (Raymond Cruz, Alien: Resurrection, TV’s Major Crimes), a mystical former priest who believes he can stop La Llorona before the weeping woman claims Anna’s kids for herself.

The Conjuring franchise has struggled with quality in their spin-off films, and The Curse of La Llorona is no exception. I applaud it for choosing to hit its horror very early but that leads to a sacrifice in character development. We don’t get to know much about Anna’s kids and so our only fear from them comes from the fact that they are children and because the audience understands Anna’s love for them. Outside of that, though, they are tremendously underdeveloped.

Raymond Cruz gives great work here but I didn’t like that screenplay from Mikki Daughtry and Tobias Iaconis (Five Feet Apart) gave his character so much comic relief. After a bulk of the film contains virtually no comic relief, getting it at the end from a character the audience is supposed to look to for safety is an odd choice.

The Conjuring Universe has been trying this interconnected thing and it’s probably the second-best cinematic universe right now outside of the MCU juggernaut, but I haven’t been a fan of their forceful shoehorning of references in their films. In this film, there is stock footage of Annabelle to show how Tony Amendola’s character connects these two stories and it couldn’t have felt more forced if the director had paused the narrative and stepped out in front of the film to proclaim, “Here! Look here! This is how they connect!” The film doesn’t need that to thrive. Just have Father Perez reference the Annabelle doll like he did and let that be it. It will not alienate people who did not see the first Annabelle film and for those that get it, it will be all the more fun.

I feel like we should talk about the actual horror in the film. This is an angry spirit who, for the most part, has two major elements to her scares: her voice and her shock value. The voice is a really strong part of her character. There’s one scene in particular that works really well in the film where we don’t even see La Llorona but we hear her crying and then her scream just filled the atmosphere, putting all the candles out in the dimly lit home. It’s a great moment that we don’t get enough of. The other scare, though, is done all too often. This film is full of jump scares. La Llorona barely has buildup when she appears outside of the sound of her weeping. Most of the time, though, director Michael Chaves (The Maiden, TV’s Chase Champion) doesn’t let his film breathe enough to develop the scares. It’s something I really hope he learns to do before he gets behind the camera for The Conjuring III.

Overall, The Curse of La Llorona is very similar to The Nun. Both films have strength in their spiritual mythologies, but they both struggle with building their horror and rely all too often on jump scares. I think this will appeal to fans of The Conjuring Universe, and it’s a breath of fresh air for a series that has relied so heavily on the Warrens and the main Conjuring film mythology. I surely had a lot of fun in this theater experience, so if you see it, do so on opening weekend with a good-sized crowd.

 

2.5/5

-Kyle A. Goethe

 

 

For my review of Corin Hardy’s The Nun, click here.

For my review of David F. Sandberg’s Annabelle: Creation, click here.

For my review of James Wan’s The Conjuring, click here.

For my review of James Wan’s The Conjuring 2, click here.

For my review of Michael Chaves’s The Maiden, click here.

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