Annabelle

For the last few years James Wan (Annabelle’s Producer) has been a force in the horror genre, directing films like “Insidious,” “Insidious 2,” and last summer’s blockbuster “The Conjuring,” one of the most frightening films in recent memory. In the prologue to “The Conjuring,” audiences were introduced to Annabelle—a doll inhabited by an evil presence that allows it to move, cause mischief, and even seriously injure people. In the first film, the young women who owned the doll believed the disembodied spirit of a child named Annabelle possessed the toy. Demonologists Ed and Lorraine Warren inform them that it isn’t a child, but rather a demonic entity that used the guise of a child to prey on their sympathy. At the conclusion of “The Conjuring,” the doll is locked in the Warren’s office where it’s (hopefully) unable to harm anyone. In real life, the doll, an antique Raggedy Ann model, resides there to this day.

After summarizing the events of “The Conjuring” related to our title character, “Annabelle” then goes on to tell us the story of how the doll came to be inhabited. We’re introduced to newlyweds John and Mia (Ward Horton and Annabelle Wallis). John is a medical student in his final year, while a very pregnant Mia is preparing to be a stay at home mom to their daughter.

Since Mia is a doll collector, John surprises her one day with a rare model that she’s been unable to acquire. Of course, it’s Annabelle. One night, in a disturbing and bloody scene, cultists slaughter Mia and John’s neighbors. They then break into the couple’s home and attack them. John, with the help of the police, manages to subdue one of the attackers. The other, a troubled young woman named Annabelle, is found in a spare bedroom cradling Annabelle (the doll) in her arms. She’d slit her own throat and, in a crucial shot, a drop of her blood finds its way into the doll’s eye. Thus completing some sort of Satanic ritual, binding an evil spirit to the doll.

Shortly afterward, Mia gives birth to baby Leah, and she and John move into a luxury apartment, hoping to put the disturbing past behind them. They even ditch the doll, a reminder of their horrifying evening, in a trash can before moving. However, while unpacking boxes one day, Mia and John find Annabelle stashed away. Along with the doll comes a supernatural force that haunts Mia at every turn and ultimately seeks to claim a life… and more importantly—a soul.

I enjoyed “Annabelle.” James Wan handed the directorial reigns over to John R. Leonetti, who handled the duties remarkably well. While this film may not have as many horrifying moments as “The Conjuring,” in my estimation it does an even better job at establishing an atmosphere of dread. There are several moments where I not only leaped in my seat, but sat there captivated, waiting for the inevitable scare. Even when I saw it coming, it didn’t lessen the sting. I also thought the characters of Mia and John were well developed. They seem like a typical 60’s couple, and many of the shots, and a lot of the non-score music, is similarly dated. It really manages to take the audience back to that era, which isn’t easy to do with consistency. They pulled it off well in “The Conjuring” and did the same in “Annabelle.”

Joseph Bishara, who composed the music for the Insidious films and The Conjuring, returns here and is again at the top of his form. He creates a soundtrack that, while borrowing some elements from The Conjuring, is uniquely haunting.

Spiritually, this film presents a few discussion points. For starters, I the concept of some “ghosts” being demons—masquerading as something more innocent—is established. I don’t believe the Christian worldview really allows for “ghosts,” in the traditional sense. I think with supernatural manifestations, the source has to be either something beyond explanation, angelic, or more than likely demonic. Demons trying to gain a foothold into someone’s life, or plant seeds of doubt in the Word of God, which says that “it’s appointed unto man to die once, and after that the Judgment” (Hebrews 9:27). “Annabelle” deals primarily with demonic spirits, so I don’t think it causes any contradiction with the Christian worldview.

There aren’t many curse words or blasphemies, and I certainly didn’t see any sexual content. Visuals are what will most likely offend some. There is a lot of blood, and some scenes that are gruesome, even if the violence occurs just off the screen. Someone is stabbed and their blood splatters onto a nearby window. Another person is seen with her throat slit. Bodies are seen after falls from considerable heights, with pools of blood forming under their heads. There are also numerous, very frightening, demonic appearances. ***SPOILER*** The demon is ultimately after the baby, which is certainly disturbing. In one scene, what looks like baby Leah is found on the floor, supposedly deceased. ***END SPOILER***

In the end, rather than relying on the power of God to overcome the evil, a sacrifice is made to appease it. A person gives their “soul” to the Devil through death. In reality, that CAN happen, if the person is an unbeliever. I don’t believe it’s possible to sell your soul to the Devil and then be trapped under that curse for the rest of your life. The blood of Christ can set anyone LIVING free from anything, including a contract with the wicked one. And ultimately, anyone who isn’t saved is “under the sway” of the Devil, anyway. Our souls are already his until we put our faith and trust in Christ to save us from our sins. That being said, it’s not unrealistic that someone might seek their own method to battle evil.

I also warn about the character Evelyn, a bookshop owner who is drawn to Mia and eventually tries to help her. She speaks like a Christian, but some of the scenes draw a parallel between Christianity and general Spirituality (New Age). And there is no parallel, one is true, the other is false.

Overall, if you’re a fan of horror, particularly James Wan’s other films, you may enjoy “Annabelle.”

Violence: Extreme / Profanity: Moderate—OMG (3), “hell” (1) / Sex/Nudity: Mild

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