AnnabelleComesHome proves the third time's the charm for this 'Conjuring' spin-off — it's an efficient scare machine worth its weight in spare doll parts. Our review
verse visitors know that the antique doll resides deep in the Warrens’ basement, a virtual museum of cursed totems and creepy-as-fuck playthings. Casual moviegoers can guess that someone will eventually go down into that basement, ignore the sign that demands no one open the case under any circumstances and rile up the bad-juju inventory.
The mothership tales about the real-life Warrens’ misadventures has established itself as a reliable, respectful mash-up of ’70s religio-horror, paranorm-core suburban spookiness, finely tuned atmospherics and impeccably timed shrieks and jump scares. As for thefranchise side hustles, they act like pulpy beta versions of their more prestigious sister series blessed with a dingy, primal-scare–invoking dolly at center stage. Their star is a toy, its face stuck in a rictus.
Thankfully, director/cowriter Gary Dauberman, a veteran of both the series and things-that-go-bump-in-the-psyche storytelling understands that self-serious is not the name of the game this time. Ifis the best of the three films to date — a low-ish bar, but still — it’s because he’s well aware that is simplistic story works best as a cross between a haunted house and a carnival funhouse.
Or better yet, cut to McKenna Grace looking worried, since the underage actor has an uncanny knack for communicating a beyond-her-years sense of dread. No stranger to the supernatural — she was a flashback regular on Netflix’s— she gives the Warrens’ daughter an intelligence and apprehensiveness that feels leagues above your typical scream-queen-in-training performance. Grace makes being in a state of perpetual uneasiness seem effortless.
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