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At a bladder-busting 190 minutes, The Way of Water almost always finds the time to circle back to reinforce the most crucial plot elements, but it does mean that there will be times where you’ll be searching for a character’s name or their place in the social hierarchy. Cameron’s betting that you’ll be too bowled over by what a decade of technological advancement has done for realizing Pandora on screen, and the results speak for themselves. The Warrens lock Annabelle in a room that is filled with haunted and cursed items ranging from a suit of Samurai armor to a wedding dress to a pile of gold coins. While the Warrens are away, their daughter Judy is put in the care of high schooler Mary Ellen , who, unlike most babysitters in movies, is actually pretty great.
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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Daniela is also quite touching, hoping to communicate with her dead father while blaming herself for his death; she's more than just a busybody poking around where she shouldn't be. And it's a welcome surprise to see Farmiga and Wilson back as the Warrens. All in all, everything clicks satisfyingly into place for a solid scarefest that's worth getting dolled up for.
The myriad entities allow for each character to have their moment while simultaneously setting up possible sequels, a la The Nun, The Curse of La Llorona, and the forthcoming The Crooked Man. For this reason, Annabelle is the most dangerous thing in the Warrens' collection. Because attempting to destroy the doll will only make everything worse, the Warrens seal her in a consecrated glass box with a sign instructing anyone who somehow gets into their room of cursed objects to never, ever let her out. Lacking the style and scares of the better Conjuring movies, Annabelle Comes Home plays its tantalising spookhouse concept a little slow and far too straight.
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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.
While the filmmaking displayed on a technical level allows the film to achieve heightened production values, this one can't help but play exclusively in the realm of cheap thrills. An old-fashioned film that doesn't rely on gore to sell the thrills. Instead there's lots of laboured breathing, wide eyed disbelief, low-fi drive-in thrills and characters you want to survive. Tap "Sign me up" below to receive our weekly newsletter with updates on movies, TV shows, Rotten Tomatoes podcast and more.
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Later, while trying to cheer Judy up and prepare for her upcoming birthday, a friend of Mary Ellen named Daniela arrives. She pretends as though she wants to hang out but is actually more interested in the Warren’s haunted artefact room. Having lost her father in a car crash recently, she is hoping to contact him.
Furthermore, there’s a tenderness here that we don’t see a lot of in movies of this nature. Case in point, a cute little crush between Mary and Bob that doesn’t end in the prerequisite booty call you might be expecting. It’s refreshing to see puppy love displayed in such a tender and sweet-natured way. If you’re already thinking that this sounds like overkill, you are right.
The franchise has been losing steam as of late, especially after two of the worse entries in the unlikely horror franchise — The Nun and The Curse of La Llorona, which is already a film that doesn’t exist. However, with The Conjuring stars Patrick Wilson and Vera Farmiga reprising their roles as demonologists Ed and Lorraine, Annabelle Comes Home finds itself by leaning on what made the original film so good in the first place. As directed by Gary Dauberman, “Annabelle Comes Home” takes a while to get going. But once it hits its stride, it’s a moderately entertaining ride, particularly, in the final 30 minutes when the picture transforms into an extended funhouse attraction.
As in previous Conjuring films, the best scares are the subtle ones that build in layers of increasing dread, while the CGI terrors are bigger, but not necessarily better. My favorite scare is a seemingly innocent object that you realize is going to be bad news later on and when it pays off, you’re not sure if you should laugh or hide. This clear-cut plotting is welcome in a franchise where I'm still wondering why anyone thought this doll was a totally normal thing to make or own in the first place. And remember how in Cabin in the Woods, the basement was also full of haunted things just waiting to be activated? Thanks to Annabelle's beacon status, this film is like that if the characters had managed to activate all of them at once.
The characters can't just run away screaming for multiple reasons, but they're also not entirely uninformed about the paranormal. While the entire plot is predicated on one person doing something really stupid, the film explains her motivations. The Digital version’s special features will include interviews with filmmakers, new original shorts, featurettes, and deleted scenes and fans can experience them in an entirely new, dynamic and immersive manner on tablets and mobile phones using the Warner Bros. When a Combo Pack is purchased and the digital movie is redeemed, or the digital movie is purchased from an UltraViolet retailer, the Warner Bros.
While babysitting Judy Warren, Mary Ellen and her friend unwittingly release the Annabelle doll from its confines in the Warren's artifact room, along with several other cursed objects, which then proceed to attack the girls. Despite the title, the film isn't really about Annabelle; as she's only one of several cursed objects that have to be overcome. Still, the writers come up with some rather creative and frightening demonic spirits. Yet it holds back on the blood and violence, not really earning its R rating.
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