Annabelle Creation (2017)

David Sandberg

Annabelle Creation is the latest film in what is now being retconned into The Conjuring universe (rather than franchise). Annabelle Creation is a prequel to Annabelle, which itself was a prequel to The Conjuring. As a tacked-on universe prequel I thought it would be safe to expect that Annabelle Creation would follow Rogue One and Kong: Skull Island and be serviceable and good while completing a task.

With little interest in rushing to Universe connectivity the movie revels in the early twentieth century American gothic. There is nothing to fear at the start of the movie but the very landscape itself provides a sense of foreboding. Director David F. Sandberg sets the scene for a conjuring against the back drop of a prairie land full of rusted farm machinery and technology such as lights and cars which are primitive and unreliable. Anthony LaPaglia constructs handmade dolls in an isolated and large farmhouse which he shares with his wife, played by Miranda Otto, and daughter. The family exists in this gothic bucolic bliss until the daughter dies in a road accident.

Oddly the trailer outlines the entire plot of the movie and arguably spoils its most compelling element which is the very slow reveal of not just the extent of the evil hidden within the house but the how it came to be there in the wake of daughter’s death. The movie proper starts when, twelve years later, a nun and her six orphan girl charges are invited to live in the house with the still grieving couple.

As soon as the nun and orphans arrive there is a feeling of a growing restrained threat and violence. As the children voice or attempt to ignore their fears the movie becomes about the idea of faith and the power of evil in the world and its ability to consume and destroy the innocent without caring about what should or deserves to happen. The setup of isolated farmhouse is naturally terrifying, the use of the doll and ghost child eminently chilling and the main pre-pubescent girl protagonists are especially vulnerable.

The film could have gone further and been as socially analogous as Get Out if it had chosen to twist the knife deeper and allude to the evil which existed, and exists, within the church. The demon and/or its existence could have been portrayed as analogous to predatorial priests preying upon the weak. Perhaps realising how close they are to this territory the filmmakers go to pains to ensure viewers that the demon is a demon is a demon and as such too much of the monster is shown in the third act of the film and rather than a terrifying wraith of the imagination some of the terror is dulled as the conjuring of inherit evil is rendered into form on too many occasions.

There are also either a lot of conceits or no limit to the demon’s power which is simultaneously frustrating and serves to heighten the threat and feeling of helpless ness with which the audience is shown the film. In service to universe building there is an Easter egg for the next Conjuring Universe movie, The Nun, and the epilogue of the film feels a little to complete as, like with Rogue One, it is forced to fit too well and, again, leave nothing to the imagination as it runs on seamlessly into Annabelle.

These small faults aside Annabelle Creation is still a film which is better than the sum of its parts. The script, acting and direction are well done and it maintains an enthralling pace and doing a lot with a relatively low kill count.

Don’t watch the trailer before seeing it. Destroy all porcelain dolls afterwards.

 

 

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