Blumhouse Productions will have its successful terrifying sagas of low budget, but Warner Bros. was not far behind and, incidentally, created a shared universe of classic stories full of scares and demonic artifacts. Without realizing it, comes the third installment of the most damn doll after Chucky, a continuation that, somehow, closes the circle that started with The Conjuring. There, in the first James Wan movie in this mega franchise, we knew Annabelle's story superficially, before Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) accepted the Perron case.
Then came the first solo adventure of the possessed doll, a case set in Santa Monica, in the late sixties, starring a couple very much affects collecting these old toys; and Annabelle 2: Creation, a prequel where David F. Sandberg tells its origins, back in the mid-fifties. Now, everything returns to the beginning (or is it the end?), since history transports us back in the early 1970s, when Annabelle first arrives at the Warren's home to stop causing problems. Or that is what they want us to believe.
From the outset, Lorraine understands that this is not an “artifact” more of her collection of cursed objects. Annabelle is not strictly possessed, but is a conduit for other evil entities to do theirs; That is why they decide to protect it under a series of protections in the basement of their house, including its famous sacred glass box and a few blessings from a priest. Thus, the doll can no longer hurt, unless someone paws.
As the most banal terror cannot avoid these common places, Annabelle Comes Home sets aside the Warren to concentrate on their little daughter Judy (Mckenna Grace), who on the eve of her birthday feels a bit upset, as her schoolmates have a touch of fear to discover what their parents do. While public opinion and the neighbors decide if Ed and Lorraine are heroes or pure fraud, the girl has several supernatural experiences that do not help her to socialize.
Mom and dad should go out during the weekend and that's when Judy stays in the care of Mary Ellen (Madison Iseman), the nanny who, despite everything, is going to have a good time. But also the gossip Daniela Rios (Katie Sarife), friend of Mary, very interested in the artifacts of the Warren. It turns out that the girl has just lost her father and needs to communicate with the hereafter to mitigate her pain and her faults.
You can imagine what is coming. Daniela invites herself to the Warren's house and starts to get where they don't call her. After stirring Ed's office, she discovers the keys to the basement, where the marriage keeps the most evil objects they had to face. It does not matter that the door has twenty locks and locks, the girl ignores and begins to touch each of the objects until she reaches Annabelle's showcase, which says expressly: "Do not open under any circumstances." Error, the glass box is open and thus the evil spirits begin to lose heart, including many of these diabolic artifacts.
Annabelle Comes Home is a story of terror too conventional, even within the franchise. Gary Dauberman, screenwriter for it and The Nun, debuts behind the cameras and leaves no cliché with his head. The director manages to put together a terrifying microcosm within the limited space of the house, playing in the different rooms with the consequences of these haunted objects that begin to influence the girls. The supernatural takes over the stage, but does not avoid the classic jump scares and common places of the genre with its lanterns and lights that go out, elements that levitate, mysterious mists and some ghostly occasional appearance.
The narrative motivations of the story, as well as its outcome, are quite poor and clumsy, and only show us teenage stupidity.
Annabelle Comes Home is a good excuse to continue expanding this universe with cheap and simple stories that double and triple the money at the world box office.