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Annabelle Comes Home

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The Warren universe has become the great horror movie franchise of the past. And it is that the producer, Blumhouse, is the main dominator of the genre, but the saga started by James Warren in 2013 with the great β€˜Warren Record: The Conjuring’ and they have not stopped creating blockbusters since then.

Now it's the turn of β€˜Annabelle Comes Home’, the third installment of the saga dedicated to the terrifying doll. Until now none of the spin-offs of the Warren universe had been at the level of the two deliveries directed by Wan and we will still have to wait for that to happen, since the tape that now occupies us does not go beyond being an acceptable film of terror that does not finish taking advantage of all the ingredients at its disposal.

One of the most suggestive details of The Conjuring was the presentation of the room in which they kept locked all kinds of problematic objects and artifacts. Annabelle stood out above all of them and that's why she ended up having her own movie, but one of the great strengths of the movie that concerns us was that the sinister doll could sow terror using her peculiar roommates, thus giving a greater variety to the whole.

At least that way the movie avoids repeating itself and allows certain visual games -the most successful thing is everything related to the fog when the action moves for once outside the Warren's house- that makes its viewing more bearable, but Gary Dauberman fails to provide the film with the necessary claw. Missing that approach that Wan did very clear betting on a more classic touch in β€˜The Conjuring’ and a tremendous camera energy in its sequel.

What one finds in β€˜Annabelle Comes Home’ is a functional staging work that is right in finding the right rhythm so that one never disconnects but that beyond that does not provide anything really distinctive. In fact, in the purely technical aspect, it is below β€˜The Nun’, where what failed was a script so dull that it contaminated the whole.

The other great asset that Dauberman had at his disposal is that of having Vera Farmiga and Patrick Wilson giving life to Lorraine and Ed Warren again, although we already knew that their presence was going to be secondary at best. Of course, they are the main protagonists of the prologue and there β€˜Annabelle Comes Home’ feels like a much more important film, both for the contribution of the actors and for the execution since the staging.

There is really nothing memorable about it, since it all comes down to Lorraine and Ed being aware of Annabelle's peculiarities, but it really feels like a continuation of her paranormal adventures rather than a more or less necessary complement as it happens with the rest of the footage.

Of course, we have nothing clear that the Annabelle franchise can or should move forward after the movie in question. We can't think of anything that they can tell about it and it makes sense to do so. They told us her past in the first installment, their true origin in the second and how it ended up in the hands of the Warren here. Stop there, please.

This is a hobby of light terror to continue squeezing the popularity of the franchise that starts strongly and then accumulate terrifying situations without making any of them leave a mark.

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