Annabelle (2014) — the highly anticipated prequel to James Wann’s The Conjuring (2013) — graced the big screen on October 3 and arguably met the high expectations set by its predecessor. The film is based on true events that occurred early in the controversial career of Ed (played by Patrick Wilson) and Lorraine Warren (played by Vera Farmiga) as demonologists, whose most famous cases include the one chronicled in Amityville Horror (1979). The Warrens were urgently called to help two roommates, whose “Annabelle” doll had been the trigger object of severe paranormal activity in their home, causing disturbances from knocking at the door to defacing the house.
We are then transported backward in time to the 1970s at the beginning of a young couple’s life together. Mia (Annabelle Wallis) and her loving husband John Gordon (Ward Horton), expecting their first child, begin to experience an array of horrifying events following John’s purchase of an evil-looking doll – the very Annabelle we have come to know. Magnified for cinematic effect, Annabelle’s frightening features infuse feelings of unease and sheer terror up until the end credits – though, even then, I was left looking over my shoulder with the hairs on the back of my neck standing up.
One evening, during the latter stages of Mia’s pregnancy, the pair are awoken to a massacre happening just next door, which then migrates over to the Gordons’ family home. In a suspense-filled sequence, we watch helplessly as the couple are brutally attacked by two satanic worshippers. Mia, left injured by the horrific event, is then put on bed rest for the brief remainder of her pregnancy. The use of ambiguous shots in this sequence leaves you on edge as you await the next conflict. It is through this sequence, in particular, that the film proves the importance of sound as the loud orchestral thuds break the silence, resulting in a wave of heart attacks across the theatre.
The film, though lacking in originality, thrives on a thoughtful plot twist that is both clever and scary – making the packed cinema audience jump, scream, and even flee the theatre for the sake of their sanity. I must admit that the atmosphere in the cinema that evening was unlike anything I have ever experienced, thus confirming that John R. Leonetti’s evil plan to horrify his audience had indeed worked.
Unfortunately, at numerous points in the feature I was left feeling like I had experienced déjà vu, when shots repetitively foreshadowed the action before it happened, therefore negating the suspense that the producers may have hoped to emit. Predictability is to be expected, due to the signature style that Leonetti constantly utilizes throughout his work in this genre; although undoubtedly the main reason for the success of his films, it can be tedious at times.
Annabelle deserves its soaring reception, however, as the cast performed fluently throughout and the elements of horror (including a cameo from a demonic force) truly frightened all of the audience – myself included. After all, isn’t that what horror is all about? And it’s to be expected that after a viewing of Annabelle you will spend the night with one eye open and the light on whilst the doll’s horrifying smile plays over in your mind – but you will likely wake in the morning craving a second viewing.
Author Biography
Lydia Marley-Lawson is currently studying film and media studies with aspirations to become a director in the future. She co-owns “Shake the Glitter,” an entertainment website and “Shake the Glitter Productions” an independent production company.
Film Details
Annabelle (2014)
USA
Director John R. Leonetti
Runtime: 99 minutes
