If “Annabelle” had any sense of when to let up on the throttle, it could have been one of the truly great horror movies of the past few decades. Instead, it chooses to mentally exhaust the audience by turning every single thing on screen into a weapon of one form or another, and it ramps up the already unnecessary tension with sound design that turns a sewing machine into a thunderstorm. It makes sense, in a way: they’re trying to make the audience as paranoid as the protagonist, but the one thing that “The Conjuring,” the film in which evil doll Annabelle made her feature debut, did so well was balance the light with the dark. “Annabelle” is nothing but darkness, and a lot of that darkness is been-there-done-that darkness. Indeed, the story line is largely borrowed from “Rosemary’s Baby,” with nods to “The Omen,” “Witchboard,” and even “Poltergeist.” Those are good to great sources, but Annabelle deserved a story of her own, not one stitched together from the carcasses of others.
Set in California one year before the opening scene of “The Conjuring,” Mia (Annabelle Wallis. Yes, the lead actress in this movie is named Annabelle, God love her) and her husband/doctor-in-training John (Ward Horton) are expecting their first child. Soon after we meet John and Mia, their next door neighbors the Higgins are murdered by their daughter Annabelle, now a member of a satanic cult. Annabelle and her accomplice friend try to kill John and Mia as well, but are not successful. Annabelle kills herself in their nursery, holding one of Mia’s porcelain dolls. Annabelle’s blood spills into the eye socket of the doll. The doll, naturally, is now a conduit to evil.