We cannot say that we are impartial with the James Wan movies. Nor can we say that we don't have a certain prejudice against Gary Dauberman, the writer of Annabelle's previous two films and rotten jewels like The Nun, and now directs Annabelle Comes Home. We certainly do not like, at all, what this pair has done with the American mainstream terror. James Wan is a very talented producer who, in fact, sells pure air: formulas programmed to work and be forgotten, momentary blockbusters that do not build anything durable. In addition, Gary Dauberman's passion for using horror as christian propaganda is, in itself, despicable.
We weren't very excited to heat about Annabelle Comes Home, knowing that Dauberman was directing a story produced and conceived by James Wan. But surprisingly enough, the experience of the movie itself is surprisingly positive. With this, we don't want to say that this is a good movie. Not even a good movie in the irregular universe of The Conjuring. Actually, what surprised us at Annabelle Comes Home is that it is a formulaic film, which meets all the sins of the saga in its final horrendous and deficient script, but has something unique. The way Dauberman filmed this movie had a positive impact.
The story of Annabelle Comes Home happens immediately after the events that started Annabelle's story in 1968, when Debbie receives as a gift the haunted doll and suffers a chilling amount of attacks next to her roommate, Camilla. That was the scene that inaugurated the entire universe of The Conjuring, back in 2013. Now, we follow the history of the Warren taking the doll to protect it in a consecrated place within its sanctuary of horrors. Upon returning from Debbie and Camilla's house, the Warren, however, realize that the doll, rather than being possessed, is a vehicle that channels the presence of other spirits. After guarding the doll behind a blessed glass container, the Warren's are sure that the evil will not come out again.
A year later, Warren's daughter is a shy teenager who lives with bullying problems at her school: all her classmates know what her parents do and they don't stop bothering her. In addition, she begins to show the same psychic qualities of her mother: Judy Warren can also communicate with the dead. One weekend, the Warren's leave to investigate a distant case. They leave Judy with a particularly friendly and responsible babysitter, named Mary Ellen and think that everything will be fine. However, Daniela, Mary Ellen's friend, wants, at all costs, to enter the Warren's forbidden room to try to communicate with her recently deceased father. Her curiosity will obviously unleash the hell when she releases Annabelle from her sanctified prison. Now, without the help of the Warren, three teenagers will have to face all the evils that Annabelle's diabolical presence will release.
The argument of this film is strongly based on the idea of a haunted house and in the sense of a fairground attraction. On the one hand, there is the idea of fear contained in the Warren's house; a fear that only, indeed, the Warren - like the superheroes of 'God in the universe' of James Wan - can conjure. There, the show takes place in the best tradition of the William Castle of 13 Ghosts (1960). On the other hand, once this evil is released, the house literally becomes a house of scares: different monsters at each corner, environments transformed by lighting and smoke machines, a restricted space of corridors and scheduled laps, etc.
In this movie, exactly the same thing happens and we have the same kind of harmless endings that only serve to relax the public and prepare the next installment of the saga. Because, of course, we all saw that obvious Easter egg that winked at 'The Crooked Man'.