Annabelle (2014) [Blu-ray]
Horror
She terrified you in The Conjuring, but this is where it all began for Annabelle. Capable of unspeakable evil, the actual doll exists locked up in an occult museum in Connecticut - visited only by a priest who blesses her twice a month. John Form has
found the perfect gift for his expectant wife, Mia - a beautiful, rare vintage doll in a pure white wedding dress. But Mia's delight with Annabelle doesnt last long. On one horrific night, their home is invaded by members of a satanic cult, who violently
attack the couple. Spilled blood and terror are not all they leave behind. The cultists have conjured an entity so malevolent that nothing they did will compare to the sinister conduit to the damned that is now...Annabelle.
Storyline: John Form has found the perfect gift for his expectant wife, Mia - a beautiful, rare vintage doll in a pure white wedding dress. But Mia's delight with Annabelle doesn't last long. On one horrific night, their home is
invaded by members of a satanic cult, who violently attack the couple. Spilled blood and terror are not all they leave behind. The cultists have conjured an entity so malevolent that nothing they did will compare to the sinister conduit to the damned that
is now... Annabelle.. Written by johntyler249
Reviewer's Note: Reviewed by Kenneth Brown, January 19, 2015 -- After the initial shivers subside, Annabelle isn't all that frightening. It isn't all that anything, other than a bit eerie, which, for this reviewer,
would apply to just about anything involving an inanimate object wreaking supernatural havoc on a family of innocents, particularly when that inanimate object is a doll. Shudder. A demon-possessed doll. Double shudder. Rather than innovate,
terrify or surprise, Annabelle settles for familiarity and cliché. What it doesn't import directly from its predecessor, James Wan's The Conjuring (rightfully a fixture on many a 2013 Top Ten list), it shamelessly lifts from a dozen other
films; a little here (The Exorcist), a little there (Rosemary's Baby), something old (1978's Magic, 1987's Dolls), something new (the Insidious series), all of it repurposed in an uninspired throwback that specializes in
prefab atmosphere, cheap tricks and treats, and plenty o' jump scares. But no worries. It failed miserably at the box office, right? Right? Of course not, silly boy. It made over $250 million on a $6 million budget. Annabelle 2, here we come.
This is where it all began for Annabelle. Capable of unspeakable evil, the real doll exists, locked up in an occult museum in Connecticut, visited only by a priest who blesses it twice a month. The film begins before that evil was unleashed. John Form
(Ward Horton) has found the perfect gift for his expectant wife, Mia (Annabelle Wallis): a beautiful, rare vintage doll dressed in a pure white wedding dress. But Mia's delight with Annabelle doesn't last long. On one horrific night, the Forms' home is
invaded by members of a satanic cult, who violently attack the couple. Spilled blood and terror are not all they leave behind. The cultists have conjured an entity so malevolent that nothing they did will compare to the sinister conduit to the damned that
is now Annabelle.
If there's a respite to be found it's that screenwriter Gary Dauberman (Swamp Devil, In the Spider's Web) and director John R. Leonetti (Mortal Kombat: Annihilation, The Butterfly Effect 2) stick to the rules established in
The Conjuring (for which Leonetti served as cinematographer). Annabelle doesn't talk. Doesn't stalk. Doesn't wield a knife, grab a knife, even look at a knife. She certainly doesn't teeter about the Form house in search of her next kill. The doll
itself isn't the source of evil; the malicious entity haunting it is, and it's that demonic possession angle that empowers the film's creepiest sequences. Annabelle isn't Child's Play. No matter how frequently its cameras press in on the
titular beastie, or how loooong those zooms last, the doll refuses to crane its neck or wink its eye. The unfortunate flipside is that the demon isn't very creative, doesn't hold much sway over life and death, and isn't all that, er, demon-y. The
Conjuring's even features a scene involving Annabelle midway through its second act; one that's infinitely more disquieting and effective than the whole of what we get here.
More problematic are Annabelle's script, performances and low-camp jolts. Providing a straight-laced, drive-in horror-movie origin for the demon is a tragic misstep, robbing the doll and its inhabitant of any mystery whatsoever. A satanic cult?
That's what we're going with? The actors do their finest with what they're handed I suppose, but, as written, the Forms and the friendly folks who pitch in to help them are about as bland as genre protagonists get. Wallis' Mia is by far the most
interesting, though so much of her character is informed by Mia Farrow's Rosemary that it's hard not to compare the two. (No contest. Farrow wins.) Horton's John is duller than dull. I just can't tell if its the dutiful husband as written or Horton's
stiff gaze and flat delivery. Tony Amendola and Alfre Woodard bring more personality to the mix as a kindly priest and a grief-stricken mother, but we've seen the meddlesome pastor and haunted confidant before. Several times over, in fact, and
Annabelle doesn't inject anything remotely fresh into either horror archetype. Combined with Annabelle's bargain-bin, direct-to-video scares -- which are already earning yawns and laughs by the film's climax -- the film begins to feel as if
it were made, not set, in 1969. And no, classic movie buffs, not in a good way. (Unless you focus on the production design, in which case kudos to the art department.)
Annabelle isn't a terrible prequel. It's functional. Serviceable even. But it isn't terrifying either. Or a very well-written spin-off. Or a decent popcorn muncher. Or much of a guilty pleasure. Or a satisfying horror film. Or comparable to The
Conjuring. Or... you get the point. Dauberman and Leonetti had all the pieces they needed to build something tangible. Eerie. Unnerving. What went wrong is anyone's guess, although mine involves pointing at their previous writing and directing
efforts, which tell you everything you need to know. Why Warner handed a potential franchise to the man who gave the world Mortal Kombat: Annihilation is beyond me. Maybe he sold his soul to the devil. If so, he should've added "and it has to be a
good film" to the contract.
Annabelle should have kept me up for weeks. Instead it nearly put me to sleep, and I'm one of those poor saps with an unhealthy fear of dolls. Porcelain dolls especially. (My mother had a collection she kept in our living room; a living room with
an oversized bay window that moonlight loved to pour through. Down the hall, my room was situated across from the bathroom, meaning any late-night trip out and about was met by dozens of glowing glass eyes. Not a healthy way to grow up.) Its script lags,
borrowing mercilessly from better films. Its performances sag, without much for the actors to grab onto. And its story amounts to surprisingly little; a conventional prequel to its surprisingly unconventional (and superior) predecessor, The
Conjuring. I'd suggest renting Annabelle before buying. If you do purchase a copy, though, you'll be treated to an AV knock-out. It's light on the supplements, but its presentation at least helps justify the cost of admission.
[CSW] -1.4- I thought the acting was spot on for every character except for Mia (Annabelle Wallis). It could have been the script or the lack of any credible plot but I found her performance not to be as credible as the rest of the ensemble. Having said
that I agree with this reviewer:
Creepy doll narratives have been around since the 1950s, perhaps longer, but I don't think any of them have an ending this stupid. There's also a whole lot of stupid to sit through before the ending. Annabelle focuses on a possessed sewing
machine, a possessed record player, a possessed television set, a possessed electric stove, assorted other possessed objects and the boring couple who own them. They obviously blame the doll because everybody knows that if you are pregnant and somebody
from a Satanic cult stabs you in the womb, you don't ever, EVER let the blood drip into a creepy doll's eyeball or else objects in your home will become possessed. In the doll's defense, it doesn't really do anything except sit there and look creepy. That
doesn't stop the sound designers, though, from blaring obnoxiously loud and dissonant music so that we know just how intense it is when a character has a panic attack over a crayon rolling on the floor.
[V4.5-A4.5] MPEG-4 AVC - D-Box 10/10 although it didn't help with anything but the "jump-scare" bumps.
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