Prequel Annabelle is one of the best horrors of 2017. If three years ago after the first film so badly released there was such a statement, I must have laughed. But in fact, Annabelle: Creation is indeed one of the best horrors this year. Giving a real new origin is a retcon, the work of David F. Sandberg (Lights Out) brings his story back to about the 1950s, when a doll maker named Samuel Mullins (Anthony LaPaglia) and his wife, Esther Mullins (Miranda Otto) lost the only daughter, Annabelle (Samara Lee), by accident, 12 years later, Samuel and Esther made their home an orphanage for a handful of girls from Sister Charlotte's guidance (Stephanie Sigman). The happiness of acquiring a large new house did not last long, especially for Janice (Talitha Bateman) who was interested one night to enter a room despite being banned by Samuel. Apparently, that room belonged to Annabelle first, and without Janice realized, she had freed an evil spirit from restraints. The spirit that is ready to spread the vicious terror is prolonged.
The mark of quality improvement over its predecessor's installs is splashed since its opening sequence. Sandberg chose to compose silence, showing Samuel's process of creating an Annabelle doll followed by hide-and-seek with his daughter. Nihil music or sound effects, just lonely anticipation lighter that feels stifling. The lonely shades persisted towards the middle of the duration, but not the exhausting void. There is the little introduction to all the oddities in the home to small-scale terrorism like a shadow of a shadow. The atmosphere awakens strongly where Sandberg is assisted to divide the dark and bright side of the room by the cinematography of Maxime Alexandre provoking our natural fear that there is a spooky figure lurking from behind the darkness, But Sandberg realized, the atmosphere alone would not be enough to satisfy a wide audience. Need parade jump scare. Following the science of James Wan plus creativity, as he exhibits in Lights Out, Sandberg's scare jump scare contains apparitions through unpredictable times and times. The ghosts not only ride through showing off a spooky look but "active" to do something, call pushing a wheelchair in broad daylight. The middle half of the film practically moves on formulaic paths in the form of terror without stopping, but the escalation of tempo after the first half that spread slowly plus creative method of the director, powerful attention to watch.
Also guarding the film falling into the void is the cast. Gary Dauberman's manuscript is divided into two foci. The first half of Talitha Batman stage shows convincing acting related to the expression of fear. When the camera often takes close-ups, we see the appearance of an experienced actress in the realm of horror. Then the second half filled Lulu Wilson as Janice's best friend, Linda. Wilson Tub represents Sandberg's intention of having fun working on his movie. Both the short ("who cares, run!" Is my favourite line) and the innocent response to the terror of Annabelle's dolls bring the freshness of humour to the point that it does not disturb the horror parade. But Linda's innocent behaviour actually logic, so apart from being one of the most likeable boy characters in horror lately, also smartest.
Touching the third act, Sandberg no longer restrains himself. Released all the ammunition, he paced the tempo as fast as possible. Not to rush anyway, because Sandberg still bridges moment by moment, resulting in anticipation that is not less thrilling than the main horror treats. Long-lasting but not excessive and consistent guarding the dynamics, Annabellee's climax: Creation deserves to define "epic horror entertainment". Related to its existence in The Conjuring Universe, along with the film pinned several connections with previous titles, including the credit scene (there are two pieces) that refers to the next spin-off that will release next year.
RATING (7/10)
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