Annabelle Comes Home review

For inSing

ANNABELLE COMES HOME

Director: Gary Dauberman
Cast : Mckenna Grace, Madison Iseman, Katie Sarife, Patrick Wilson, Vera Farmiga, Michael Cimino
Genre : Horror
Run Time : 1 h 46 mins
Opens : 26 June 2019
Rating : PG13

            The third film in the Annabelle series and the seventh film in the Conjuring franchise overall welcomes audiences back to the Warren Occult Museum, where things go bump in the night.

After the events of the first Annabelle movie, paranormal investigators and demonologists Ed (Patrick Wilson) and Lorraine (Vera Farmiga) Warren bring the cursed doll Annabelle back to their home for safekeeping. Annabelle is not haunted per se but is a beacon that attracts and awakens other ghosts. Blessed by a priest and kept behind a glass case made from a church window, Annabelle can do no more harm – or at least, that’s the plan.

The Warrens hire teenager Mary Ellen (Madison Iseman) to babysit their daughter Judy (Mckenna Grace) while they’re away. Curious about the Warrens, Mary Ellen’s friend Daniela (Katie Sarife) comes to the house and breaks into the secret room containing Annabelle and other objects that are either cursed, possessed or were used in occult rituals. This unleashes a litany of horrors which the three girls must outrun.

In the wake of the success of the Marvel Cinematic Universe, every studio wants a ‘universe’ of their own. The Conjuring Universe is the rare example that has worked, with the seven films making almost $1.7 billion collectively worldwide. Annabelle Comes Home demonstrates one of the reasons why the franchise is successful: the real-life Warrens conducted so many investigations that there’s a rich well to draw from. Every object in the Warrens’ museum has a story behind it, and Annabelle Comes Home shows us what happens if everything in that room came alive at once. As a result, Annabelle herself is more a supporting character, sharing the limelight with various other unearthly entities.

Annabelle Comes Home is the directorial debut of Gary Dauberman, who wrote the earlier two Annabelle films, The Nun and the two It films. Dauberman creates delightfully tense scenarios, constructed for audiences to point at the screen and yell “behind you!” This is a movie that is best watched with a crowd because it is designed as a theme park attraction, a haunted house combined with a roller coaster. There are shades of Night at the Museum and Disneyland’s classic Haunted Mansion, in which each ghost has a rich backstory.

There are jump scares aplenty, but the film retains the audience’s goodwill by being just self-aware enough without being overly cynical. Annabelle Comes Home has a sense of humour about it but always wants to be genuinely scary. The early 1970s setting also provides the movie with a good deal of texture, with one particularly inspired set-piece involving the board game Feeley Meeley.

This movie is geared towards a younger audience than the other Conjuring films are – in Singapore, it has a PG-13 rating despite having an R rating in the US. The characters still sometimes do extremely stupid things, but are overall much more likeable than in typical horror movies geared towards teens.

13-year-old Mckenna Grace has amassed an impressive résumé, with film and television credits including I, Tonya, Captain Marvel, Designated Survivor and The Haunting of Hill House. Having been raised by paranormal investigators, Judy knows a thing or two about the supernatural, so she isn’t just the typical horror movie kid in peril. Judy isn’t afraid of many things, but is especially afraid of Annabelle, which conditions the audience to fear the doll too.

Madison Iseman plays the sweet, caring babysitter, with Katie Sarife as her more rebellious, troublemaking friend. Sarife’s character is deliberately annoying, and it’s only later that we learn there’s a bit more to her, even if the emotional beats centred around her character don’t really work. Between the three characters, there’s a lot of screaming to go around, but the movie has fun with the dynamic of the younger girl protecting the older girls when it’s expected to be the other way around.

Patrick Wilson and Vera Farmiga show up in what amounts to an extended cameo, but their appearance in this film means it has a much stronger connection to the mainline Conjuring series than the other spinoffs do. However, their appearance also reminds us that some of the ideas in this movie were probably rejected from the upcoming The Conjuring 3 – one Warren investigation which producer James Wan earlier said could be the basis of The Conjuring 3 is briefly covered in this movie.

The breakout character is Bob (Michael Cimino), an earnest awkward boy with a crush on Mary Ellen who inadvertently gets caught in the chaos.

Annabelle Comes Home is not a particularly haunting movie and won’t linger in the dark corners of one’s mind the way the best horror movies do. It is entertaining and thrilling and will elicit its share of shrieks and nervous laughter. Go with a bunch of friends and try not to grab their arms too hard.

RATING: 3.5 out of 5 Stars

Jedd Jong

Jumanji: Welcome to the Jungle movie review

For inSing

JUMANJI: WELCOME TO THE JUNGLE

Director : Jake Kasdan
Cast : Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan, Nick Jonas, Bobby Cannavale, Rhys Darby, Alex Wolff, Madison Iseman, Ser’Darius Blaine, Morgan Turner, Marc Evan Jackson
Genre : Action/Adventure/Comedy
Run Time : 1h 59m
Opens : 21 December 2017
Rating : PG

You’ve probably heard the expression “get your head in the game,” shouted by many a coach at many a distracted school athlete. In this fantasy action comedy, four teenagers get their heads, and the rest of them, stuck in a video game called Jumanji.

Geeky germaphobe Spencer Gilpin (Alex Wolff), vain popular girl Bethany Walker (Madison Iseman), football jock Anthony “Fridge” Johnson (Ser’Darius Blaine) and withdrawn Martha Kaply (Morgan Turner) get thrown in detention. While sorting through old magazines in the basement, they discover an old video game console. On plugging it into the TV, the group gets sucked into the video game, where they take on the form of the avatars they’ve chosen.

Spencer becomes the muscle-bound adventurer archaeologist Smolder Bravestone (Dwayne Johnson), Bethany becomes rotund cartographer Dr. Sheldon “Shelly” Oberon (Jack Black), Fridge becomes diminutive zoologist and weapons carrier Franklin “Mouse” Finbar (Kevin Hart), and Martha becomes the sexy badass Ruby Roundhouse (Karen Gillan). Capitalising on each of their characters’ special abilities, the group must work together to return the sacred Jaguar’s Eye gem to a large jaguar statue in the jungle. Along the way, they team up with pilot Jefferson “Seaplane” McDonough (Nick Jonas) and face off against the villainous John Hardin Van Pelt (Bobby Cannavale), whose possession of the gem allows him to wield control over the various fearsome creatures that call Jumanji home.

Jumanji: Welcome to the Jungle is a sequel to the 1995 film Jumanji, which was in turn based on the children’s book of the same name by Chris Van Allsburg. While this film might feel symptomatic of Hollywood’s rabid desire to capitalise on anything with even a shred of name recognition, Jumanji: Welcome to the Jungle is a lot better than the half-baked cash grab we feared it might be.

While the first film and its source material centred on an enchanted board game, Welcome to the Jungle transforms said board game into a video game. The filmmakers do a fine job of working video game mechanics into the film without it seeming tedious. Concepts like limited lives, each avatar’s specific strengths and weaknesses, interacting with NPCs (non-player characters) and cut scenes are all integrated into the movie in amusing ways. The linear ‘quest’ structure helps keep things from getting too complicated.

The action sequences are not especially memorable, but the in-game world feels immersive and well-realised. Surprisingly, the set-pieces do not feel overly synthetic – while there’s clearly a lot of computer-generated imagery being used, it still feels like the characters are in peril. A scene in which a low-flying helicopter must escape a stampeding crash of rhinos is exhilarating. The fact that all this is taking place within a game does not diminish the stakes as much as this reviewer thought it might. Things are kept consistently silly, but never obnoxiously so.

The film’s casting is largely effective, and the actors get the opportunity to both play to and against type, since the main cast is playing two characters each: the in-game avatars, and the people in the real-world inhabiting said avatars.

Everyone looks like they’re having a lot of fun. Johnson gets to play the larger-than-life action hero, while commenting on how much he looks like a larger-than-life action hero, while also channelling Spencer’s neuroses and insecurities. When he first appears on screen, the camera pans up, past Johnson’s bulging bicep, and up to his face – upon which he immediately arches that People’s Eyebrow.

This reviewer has made no secret of not being a big Kevin Hart fan, given that his onscreen persona is often shrill and manic. Hart is bearable here, mostly because he’s working off the other cast members.

Gillan is superb, and proves she fully deserves to be an A-list leading lady in plenty more big films. Her performance blends athleticism, awkward charm and humour to excellent effect. The character’s midriff-baring costume was much ballyhooed, but it works as a pastiche of video game heroines like Tomb Raider’s Lara Croft. Gillan gets several moments of physical comedy which are a sheer joy to behold.

Of the four leads, Black handily steals the show. His affectation of spoilt ditzy teen girl mannerisms is so spot-on, completely selling the idea that the Shelly character is being ‘piloted’ by Bethany. It’s full-tilt silliness that Black visibly dedicates himself to.

Jonas is probably the film’s weak link. Each of the in-game characters are meant to be slightly exaggerated archetypes, and it seems like Seaplane was intended to be a cross between Tom Cruise’s Maverick character from Top Gun and the aviator Launchpad McQuack from the DuckTales cartoon. Jonas just doesn’t have the swagger or the innate charm to make it work.

Cannavale’s villainous Van Pelt is given a striking gimmick that’s just unsettling enough, but the character isn’t onscreen enough to make too much of an impact.

Barring a few too many inappropriate innuendos, Jumanji: Welcome to the Jungle is serviceable family adventure fare. It does what it says on the tin, and occasionally rises above that because its cast seems admirably into it. There are several respectful nods to its predecessor, and anyone fearing this would ‘ruin their childhood’ can rest easy, because it’s not bad at all.

RATING: 3.5 out of 5 Stars

Jedd Jong