Light and color are so absent in Annabelle Comes Home that it is made into a gimmick in the one scene where it’s present. That’s how bankrupt this movie is, this fundamental aspect of filmmaking is relegated to “that one scene where we did colors.” Images courtesy Warner Bros. Pictures.
1/10 I’ve seen some truly regrettable films over the past decade, but Annabelle Comes Home is the first time I’ve ever honestly wanted my money back.
After a scene explaining the doll’s possession that’s been repeated three or four times across different releases, known charlatans Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga) bring the Annabelle doll home and secure it in their haunted vault, then ditch the movie so Warner Bros. won’t have to pay them too much. Their daughter, Judy (Mckenna Grace), her babysitter Mary Ellen (Madison Iseman) and Ellen’s bratty friend Daniela Rios (Katie Sarife) are left alone with all the haunted antiques, and Rios insists on going and fooling around with them like the entitled, snotty runt she is. The trio of inexpensive actors must face the Warrens’ entire backlog of spooky haunted objects, which apparently consists of just three or four ghouls that, between the group of them, apparently pose no tangible danger to a group of teenage girls.
In a procession of crimes against photography and storytelling, The Conjuring franchise somehow continues to get successively cheaper, thinner and worse.
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