‘Welcome to the home of The Conjuring universe’
Annabelle Comes Home is a 2019 American supernatural horror film written and directed by Gary Dauberman (writer of Annabelle and Annabelle: Creation; The Nun; Wolves at the Door; et al). The movie stars Patrick Wilson, Vera Farmiga, Mckenna Grace, Madison Iseman and Katie Sarife.
Plot:
The Warrens (Patrick Wilson and Vera Farmiga) take the Annabelle doll to a place where she can no longer wreak havoc: their Artefacts Room. However, Annabelle awakens the room’s evil which sets its sights on a new target: the Warrens’ ten-year-old daughter, Judy (McKenna Grace).
Now it is up to Judy, along with her teenage babysitter cousin (Madison Iseman) and the cousin’s friend (Katie Sarife), to square off against the evil doll…
Reviews:
“Annabelle Comes Home doesn’t reinvent the haunted-house movie, nor does it give real human dimension to either Daniela’s grief or Judy’s loneliness […] True, the haunted objects are silly at times, but unlike The Nun, Annabelle Comes Home is only funny when it’s supposed to be. And it’s enjoyable because of its clockwork efficiency, not in spite of it.” AV Club
“Annabelle Comes Home never loses the streak of genuine humanity that sets the Conjuring movies apart from many of its horror franchise counterparts, and Dauberman skillfully keeps that emotional realism alive even when he’s basically just throwing ideas for future spin-offs […] It’s half-playful and half-sincere…” Bloody Disgusting
“Unlike previous films, where the human cast was at best a side-aspect of the scares and at worst completely disposable, each character in Annabelle Comes Home feels genuine and fleshed out.” Brandon Zachary, CBR
“My only complaint about Annabelle Comes Home is that it is a little slow in the second act. Scenes of the girls slowly, slowly creeping down hallways or waiting to find out what made that noise could easily have been trimmed down. It lost momentum, but it picked up again in the third act, with an ending crammed with action and scares.” Alyce Wax, Coming Soon
“Quality characterization is a prime saving grace, which doesn’t mean to insist the movie would fall on its face otherwise. Annabelle Comes Home is merely more of a popcorn-and-candy lark than a nightmare-inducing fright film. That appears to be where this series wants to go anyway.” Ian Sedensky, Culture Crypt
” …the point of the film is not amassing a huge body count or anything like that, which is something I’m not sure how fans will feel about […] Dauberman has done a great job of tapping into what makes Annabelle such a dangerous entity and how horror movies can just be about having fun every now and again.” Daily Dead
” …the film is carried on the shoulders of its screaming cast, particularly the talented Grace who has a real screen presence […]If you were on board for the first two installments of the Annabelle (so far) trilogy, you will probably be on board this one as well which does a serviceable job keeping this doll in business.” Deadline
“With the movie’s still enjoyable period aesthetic quickly devolving into jump scares involving bodiless wedding dresses with a bloodlust, the Hound of the Baskervilles outside, and of course Annabelle herself and the demon inside of her, there’s little time to build up atmosphere or an aesthetic beyond the catch-and-release of the latest sequence of a possessed television doing… things.” Den of Geek!
“Using grief, loss, bullying, and isolation as its core themes, Annabelle Comes Home uses human emotions against supernatural terror, making the characters far more relatable that one would expect. They feel more fleshed out than your usual cookie-cutter body count fare and that creates a movie that makes you genuinely care.” Jonathan Barkan, Dread Central
“Annabelle Comes Home suffers from terminal blandness, though, unable to develop any real terror. The kids are too all right, dutifully battling the hellscape. The different ghouls are hit-or-miss, and they start to feel like level bosses, each one appearing to briefly bother another teenager between bookending closeups of Annabelle grinning.” Darren Franich, Entertainment Weekly
“Director Gary Dauberman is clearly having a hoot with this flick, and the young cast – particularly Katie Sarife and Mckenna Grace – do solid work here as well. Ultimately, Annabelle Comes Home is a film that knows what it is and performs accordingly.” Film Ink
“The script also wisely leans more toward detailing the characters rather than the jump scares galore festival previous entries in the cinematic universe have been […] Particularly, the film is strong at using eye-catching cinematography so the audience lets their guard down before something makes its ugly presence known.” Flickering Myth
” …the script still felt like a collection of scenes rather than an actual plot, Annabelle Comes Home is hopelessly light on scares. Like other Conjuring entries, there’s some nifty camerawork at play during some of the suspense sequences but nothing comes close to evoking genuine fear… Benjamin Lee, The Guardian
“Dauberman’s control over the camera and mastery of suspense is impressive, especially for a first-time director. But the film is strung too tightly, rarely breaking bad, denying the cathartic chaos one craves in this kind of film.” Hasting Tribune
” …the jump scares are the main endpoint; everything else exists to prop them up. But The Conjuring movies make an effort to care about their characters before terrifying them every which way, and Annabelle Comes Home gives them ample reasons to be terrified. That’s enough to carry the movie along its spooky-silly wavelength…” IndieWire
“Stealthily, the Conjuring movies have become the most successful Christian film series in movie history. For all its Sturm und Drang, vomiting ghosts and demonic werewolves, what the movie ends up giving us—and for the most part, quite entertainingly—is just another bad night of babysitting.” Observer
“Fortunately, the actors are winning enough that we continue to root for them even when they make countless rookie mistakes. And in fairness, the movie is both set in and endearingly inspired by a more innocent era […| Still, there’s an awful lot of waiting going on here, even as violins screech and ghost voices whisper.” The Wrap
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