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#Home the movie review professional
Although it makes for an initially absorbing narrative and filmmaking challenge, with nowhere for the characters to run or hide, the thrills and shocks gradually become repetitive, as the writer-director recycles his own material, forcing the girls to evade the same threats again and again.Īnother dubious decision ends up sidelining Wilson and Farmiga, who have effectively channeled the Warrens’ devoted personal and professional collaboration over four of the franchise’s films, in favor of focusing on the trio of young women. With nearly all the action limited to an afternoon and a seemingly endless night of horror in the Warrens’ maze-like home, Dauberman gives himself a compact, confined space to work with. She attempts to interpret their work by sneaking into the locked artifacts room after stealing the key from Ed’s study and proceeds to examine closely and even touch many of the tainted objects stored there for safekeeping. Still grieving over the recent death of her father in a traffic accident, Daniela has come seeking spiritual reconnection with her dad, convinced that the Warrens’ paranormal expertise can provide guidance. Unexpectedly, Mary Ellen’s friend Daniela (Katie Sarife) shows up on the pretext of joining Judy’s birthday celebration, although she’s really pursuing her own agenda. Things start to go sideways on the evening that the Warrens’ 10-year-old daughter Judy (Mckenna Grace) plans to celebrate her birthday early with teen babysitter Mary Ellen (Madison Iseman) while her parents are out of town on a case. The religious rite seems to immobilize Annabelle for about a year, before an uninvited visitor disrupts the enforced calm of the artifacts room. Like a queen installed upon her throne, the Warrens place Annabelle on a chair inside a locked glass cabinet as the centerpiece of their collection, followed by the local parish priest’s recitation of protective blessings and the sprinkling of holy water. Among the most recognizable pieces, some glimpsed in previous films, are a haunted wedding dress, formerly worn by a murderous bride a demented wind-up monkey toy an eerily off-key music box and a vast assortment of evil appliances and trinkets. Once they arrive safely back home, the most distinguishing feature of the Warrens’ modest split-level Connecticut house is revealed: the dimly lit “artifacts room,” where the couple keep many of the spiritually tainted objects retrieved from their harrowing cases. Two frightened young nurses in possession of the haunted toy gladly relinquish it to the Warrens after they determine that a demon has taken over the strikingly unattractive plaything in an attempt somehow to possess a human soul. A seeming throwaway moment inserted to establish the Warrens’ professional credentials, the 1968-set scene finds the intrepid couple evaluating the strange circumstances surrounding a child-sized doll known as Annabelle, clothed in a frilly white frock. Still, with the rare coincidence of two demonic doll features debuting less than a week apart, there’s little doubt that Annabelle Comes Home will not only dominate Child’s Play, but likely many of the weekend’s other new offerings as well.Īfter filling in the backstory of the cursed doll’s idiosyncratic origins in Annabelle: Creation, the latest installment circles back to the very beginning: the introduction to the first Conjuring film. With Annabelle Comes Home, however, franchise screenwriter and now director Gary Dauberman departs from real-life events to extend the Conjuring mythology in an almost entirely fictionalized direction, with noticeably less impact.