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Film Review: Annabelle Comes Home

“Everything You See In Here Is Either Haunted, Cursed, Or Has Been Used In Some Kind Of Ritualistic Practice. Nothing’s A Toy…”

Following on from the most anti-horror horror movie of the year so far in the form of the excellent and magnificently barmy, Midsommar, your local cinema screen this week is once again reunited with the more mainstream, financially friendly sight of the Conjuring universe, with everyone’s favourite and overtly nightmarishly designed porcelain doll gracing the big screen once again just in time for the summer holidays. With the tangential Annabelle series beginning particularly sloppy and then improving rather nicely for 2017’s nicely worked, Annabelle: Creation, the financial success of both ultimately results in yet another very familiar threequel in the form of Annabelle Comes Home, the seventh installment in Warner Bros’ horror series banker which sees returning screenwriter, Gary Dauberman, bumped up to directorial duties in his big screen debut for a movie which is the definition of a very safe pair of cow-poking and slightly creepy, fog covered hands.

Whilst the leading antagonistic figure of “Annabelle” itself is fundamentally creepy on first glance, conveying to the rules of horror by inverting objects which are meant to bring joy and happiness, the sheer amazement that only one, rather unkempt doll has successfully landed a trilogy of spin-off movies is rather impressive in its’ own right, and whilst Creation was the first movie aside from the central Conjuring pictures to really have its’ own voice, Dauberman’s movie does annoyingly take a slight step back, offering less of an enjoyable cliche and more of a semi-talented, copy and pasted template with only minor delights. Of the more positive elements, the cinematography and set design is actually pretty darn neat, with nice inventive set pieces, including one referenced in the movie’s trailer involving a multi-colour night light, offering a certain level of creepiness, something of which can be somewhat lacking from the weakest of the series’ offerings such as The Nun and The Curse of La Llorona, and with yet another standout performance from Mckenna Grace (I, Tonya) in the film’s leading role, Annabelle Comes Home is not exactly the worst horror genre film, it just happens to be one which screams “PLAY IT SAFE.”

Overall Score: 5/10