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Based on 35 critic reviews provided by
Annabelle Comes Home offers more humor in addition to the supernatural terror the Conjuring franchise is known for.
This isn’t a movie in search of a greater meaning. It just needs to be entertaining. But it does both, and better still, it bothers to be creative.
The new movie basically jams the archetypes of a John Hughes teen comedy into a minimalist haunted scenario. While that’s not enough to suppress the underlying gimmickry of the storytelling, Annabelle Comes Home at least manages to charm and frighten its way through the purest distillation of the “Conjuring” formula to date.
It’s a shallow exercise in gimmicky scares, but that might be its greatest virtue: it’s a horror film of modest aspirations, avoiding the convoluted mythology of the rest of the series by planting a bunch of scary stuff in a room and setting it off. It all amounts to empty calories, but it satisfies in the moment.
If it’s not quite as good as the doll’s origin story, “Creation,” it’s still way more fun than any sequel — especially one this deep into a franchise — has any right to be.
Annabelle Comes Home is only a little scary, and too religiously dedicated to its own ongoing cash-printing megafranchise for big laughs. But the best moments in this low-key domestic horror film have a tossed-off quality, like the whole production cycle was a fun weekend for everybody.
The Playlist
The film succeeds as a fun, late-night moviegoing experience, though those looking for something more substantial or memorable, may want to just wait for the next ‘Conjuring’ film and hope it overcomes the hex of the series’ increasingly conventional routine.
When it comes down to it, you can’t have a strong horror movie without a strong villain. Given that Chucky is currently working overtime to torment an entire community, surely Annabelle can do more than offer up a couple of creepy grins before calling it a day.
Annabelle Comes Home is hopelessly light on scares.
Burdened neither by fresh ideas nor common sense, Gary Dauberman’s lethargic screenplay (he also directed, an inauspicious debut) takes so long to get moving that Annabelle herself should demand a do-over.

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