Review of Annabelle: Creation (2017) by Pipec — 03 Sep 2017

James Wan's Toys.

Sandberg has conceived a mixture of Hollywood and horror of quantity and quality in its purest state. Broadly speaking, the plot and the mythology are adequately connected, dramatic moments are fairly placed among sequencesJames Wan's Toys.

Sandberg has conceived a mixture of Hollywood and horror of quantity and quality in its purest state.

Broadly speaking, the plot and the mythology are adequately connected, dramatic moments are fairly placed among sequences of distress and it even resorts, with evident respect, to the alternation of emotions technique that Wan established in "The Conjuring 2 ", interspersing horror intervals with modest but substantial comical interventions. The development flows smoothly and there are no major drawbacks to the sub-universe that builds, however, the elements relapse into unending stereotypes, such as obligatory religious presence on the part of the nun or the increase in mortality in the final act, eliminating characters without any motive, an insane movement to some extent. To grip audiences, writers must produce characters that are interesting and this universe knows that very well. A pregnant woman, a ruined family or a girl suffering from polio are people with any kind of disabilities used in order to originate grief, a feeling that allows to strike up in a strong character-spectator relationship, getting we follow horrified the troubles experienced by the actors. Another very present aspect is the exorbitant amount of horror lodestones with which the film plays, although incredibly most of the demonic entities of the previous films won their own movie, Sandberg's movie seemed to want to do the same thing, packing with out-of-control Dantesque creatures, something works against the final result, since if they skip three of them, it would have been a frightening trip in the same way.

Stephanie Sigman, Anthony LaPaglia, and Miranda Otto portray the older characters in a fascinating way, applauding the first one as the leader and faithful protector of the girls, however, and not belittling their very decent performances, the interpretative focus is explicitly over the younger actresses, especially Lulu Wilson, who did a spectacular job last year with "OUIJA: Origin of Evil" and this time ratifies her potential and ability to execute harder scenes with the most disinterested ease.

Visually, the production design and the atmosphere testify the measured budget, moving away from large cities that would have required a lot of more adaptation from the 50's and thus a rise in the cost, this time everything acquires a rustic and powerful nuance, the housing trapped under litigant solar rays, a group of clothing, decorations and practical effects are those who take those green dollar bills. The game, in which darkness and cool and warm colors intervene, works in the tension moments, also the sequences of habituation and drama manage to catch the audience, components nothing short of stunning by employing an ordinary bed, a room armored by the pages of the Sacred Scriptures or an enigmatic well to conceive horror. Exclusive distinction deserves creation of the dissimilar Dantesque conduits maneuvered by an already classic Satan, which fulfill their function with honors, causing the possibility of—Hollywood is a box of surprises—adding more standalone films in it.

There is a striking absence of the compositions of master Joseph Bishara, who was a key factor in the success of the other installments, among these "Insidious". The music is vital in products like these, sound stridency, resonances or atmosphere scores created by the composer are unique and they are greatly missed here, at least, so that sorrow is not so sharp, Bishara was present in the motion picture, for he's who performs the wicked devil. However, Benjamin Wallfisch and the sound editors team up to produce a soundly effective experience, accentuating steps, crunches, breaths, tones and suffocating sequences in a surprising way.

"Annabelle: Creation" by David F. Sandberg is one of those rare, functional and spooky sequels/prequels arriving late summer and in the 21st century, two periods thirsting for original ideas, being an excellent film that joins the universe of "The Conjuring" with complacency. Although to narrative dimensions doesn't equal the main films, but it gets to execute sequences of tension and drama using as a means the most intrinsic fears of human, taking them even to such a pass that you will be impossible to take a breath, literally, look left and there's a scare, look right there's another scare, look up, down, in any direction, this evil circus won't stop attacking until committing its purposes.