Unfortunately, Daniela suffers from the grief of having lost her father in a recent accident and a new, sudden condition of Horror Movie Idiot Syndrome. Instead she’s left to celebrate it with her babysitter Mary ( Jumanji’s Madison Iseman) and that teen’s bestie, Daniela (Katie Sarif). No one’s coming to her birthday party, and even the folks won’t be there on an actual day since they’re away on a case. And vulnerable she is with her sullen eyes and glossy raven hair, which along with stories about her parents has made her a pariah at school. Once a just a really groovy monster in The Conjuring’s opening sequence, she is now the reigning demon of the museum, ruling on high and waiting to conclude her soul-sucking business with Judy Warren, the sweet little girl she haunted in the 2013 movie and who has been recast to appear especially young and vulnerable here with The Haunting on Hill House’s Mckenna Grace.
None are kept under safer lock and key though than Annabelle. With Patrick Wilson and Vera Farmiga making glorified (but not unwelcome) cameos at the beginning and end of the picture, Ed and Lorraine open proceedings by having a priest bless their basement of horrors, a makeshift museum of every cursed, haunted, or possessed artifact they’ve ever stumbled upon. Then again that’s for good reason in the Ed and Lorraine Warren household. Hairstyles are long and straight, Donnie and Marie are on television, and everyone’s obsessed with demonic possession.
Still technically set in the disco decade, Annabelle Comes Home leans into its period setting with the same kind of kitschy glee as the Conjuring proper films.
How can it not when we’ve reached the point where teenage protagonists are running in the dark from animated werewolves? It was that very glass in the Warren family’s home where we left the devil made of porcelain in the original Conjuring (and her Raggedy Ann counterpart in real-life), and now her story continues in what is kind of a backdoor Conjuring 3.Īfter so many films and strained continuity though, it resembles less the grounded slow-boil terror of The Exorcist and other ‘70s chillers that informed Wan’s two films than it does an ‘80s slasher sequel.
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As a sequel to Annabelle: Creation, which in turn was a prequel to Annabelle-the first prequel in the series set before either Conjuring film-the third Annabelle returns to the image that so terrified moviegoers in 2013: a creepy doll behind a plane of glass. Which brings us to Annabelle Comes Home, a unique culmination for any franchise. Once a breath of wicked fresh air from James Wan, his throwback to ‘70s dread (and dubious “true story” claims) has birthed a decidedly modern understanding of a “shared universe.” And as creepy as his two macabre Conjuring movies were, in that haunted house theme park kind of way, the spinoffs from Annabelle to The Nun have felt closer to country carnival knockoffs. Yet when coming upon a film like Annabelle Comes Home-the third spinoff/prequel-turned-sequel to The Conjuring-it is impossible to not notice how this mega-franchise has defined the type of horror movies we got in the 2010s. Every few years pop culture is dominated by styles and tastes, and tastes are a transient thing. As a decade reaches its end, it’s too easy for critics to become precious about the studio trends of recent movie culture.
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