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‘Annabelle Comes Home’ Introduces the New Murderous Entity “The Bride”

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In Annabelle Comes Home, the third entry in the creepy doll’s standalone spinoff series, Annabelle is awakened in the Warren’s artifact room on an evening when Ed and Lorraine have left their young daughter Judy home alone with a babysitter. As if it wasn’t bad enough, Annabelle decides to further wreak havoc by waking up the entire room full of haunted artifacts, presenting a whole new set of demonic entities to battle. Of the many details uncovered about Annabelle’s night of terror on set of Annabelle Comes Home, dropping later today, one of the most interesting is that of new evil entity dubbed The Bride.

Glimpsed for a brief moment in the trailer, a seemingly harmless vintage bridal gown adorned on a nondescript mannequin resides in the darkened corner alcove of the Warren’s artifact room. Compared to Annabelle’s ominous appearance, the gown is the opposite of terrifying. But we’re well versed in the Conjuring universe by now and know that as harmless as most of the confined objects appear to be, they belong in the artifact room for a reason.

The Bride’s backstory is revealed in a Warren case file, complete with recorded footage observed over the Warren’s projector in Ed’s office in a scene similar to our first introduction to Annabelle in The Conjuring. The footage divulges that The Bride lures in unsuspecting, excited brides to be with the elegant gown. After the gown is purchased, The Bride possesses its new owner when she wears it, eventually driving her to stab her groom to death; a violent, bloody end to what should be the happiest day of their lives. The bloodstains disappear from the dress after, so it can reel in a new victim and continue its cycle of matrimonial homicide. By the time Ed and Lorraine are called in to investigate, The Bride had already driven seven brides to commit murder.

Because of this entity’s particular modus operandi, which feels reminiscent of the ghostly Bride in Disney’s Haunted Mansion attraction, The Bride likely won’t be one of the main ghosts unleashed by Annabelle to torment the core trio of protagonists. They’re all young girls; none of them brides, after all. But it does present a new evil with an interesting backstory that screams spinoff potential. That she’s just one of many new entities being introduced in this film sets up thrilling possibilities for what’s been described as “Night at the Museum with Annabelle.”

Annabelle Comes Home marks writer Gary Dauberman’s directorial feature debut, and stars Mckenna Grace (The Haunting of Hill House) as Judy Warren, Madison Iseman, and Katie Sarife. Patrick Wilson and Vera Farmiga reprise their roles as Ed and Lorraine Warren, though expect the beloved characters to appear in a smaller capacity.

For more details on this sequel, keep an eye out for our set visit report dropping later today!

Annabelle Comes Home on June 28, 2019.

Horror journalist, RT Top Critic, and Critics Choice Association member. Co-Host of the Bloody Disgusting Podcast. Has appeared on PBS series' Monstrum, served on the SXSW Midnighter shorts jury, and moderated horror panels for WonderCon and SeriesFest.

Editorials

Finding Faith and Violence in ‘The Book of Eli’ 14 Years Later

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Having grown up in a religious family, Christian movie night was something that happened a lot more often than I care to admit. However, back when I was a teenager, my parents showed up one night with an unusually cool-looking DVD of a movie that had been recommended to them by a church leader. Curious to see what new kind of evangelical propaganda my parents had rented this time, I proceeded to watch the film with them expecting a heavy-handed snoozefest.

To my surprise, I was a few minutes in when Denzel Washington proceeded to dismember a band of cannibal raiders when I realized that this was in fact a real movie. My mom was horrified by the flick’s extreme violence and dark subject matter, but I instantly became a fan of the Hughes Brothers’ faith-based 2010 thriller, The Book of Eli. And with the film’s atomic apocalypse having apparently taken place in 2024, I think this is the perfect time to dive into why this grim parable might also be entertaining for horror fans.

Originally penned by gaming journalist and The Walking Dead: The Game co-writer Gary Whitta, the spec script for The Book of Eli was already making waves back in 2007 when it appeared on the coveted Blacklist. It wasn’t long before Columbia and Warner Bros. snatched up the rights to the project, hiring From Hell directors Albert and Allen Hughes while also garnering attention from industry heavyweights like Denzel Washington and Gary Oldman.

After a series of revisions by Anthony Peckham meant to make the story more consumer-friendly, the picture was finally released in January of 2010, with the finished film following Denzel as a mysterious wanderer making his way across a post-apocalyptic America while protecting a sacred book. Along the way, he encounters a run-down settlement controlled by Bill Carnegie (Gary Oldman), a man desperate to get his hands on Eli’s book so he can motivate his underlings to expand his empire. Unwilling to let this power fall into the wrong hands, Eli embarks on a dangerous journey that will test the limits of his faith.


SO WHY IS IT WORTH WATCHING?

Judging by the film’s box-office success, mainstream audiences appear to have enjoyed the Hughes’ bleak vision of a future where everything went wrong, but critics were left divided by the flick’s trope-heavy narrative and unapologetic religious elements. And while I’ll be the first to admit that The Book of Eli isn’t particularly subtle or original, I appreciate the film’s earnest execution of familiar ideas.

For starters, I’d like to address the religious elephant in the room, as I understand the hesitation that some folks (myself included) might have about watching something that sounds like Christian propaganda. Faith does indeed play a huge part in the narrative here, but I’d argue that the film is more about the power of stories than a specific religion. The entire point of Oldman’s character is that he needs a unifying narrative that he can take advantage of in order to manipulate others, while Eli ultimately chooses to deliver his gift to a community of scholars. In fact, the movie even makes a point of placing the Bible in between equally culturally important books like the Torah and Quran, which I think is pretty poignant for a flick inspired by exploitation cinema.

Sure, the film has its fair share of logical inconsistencies (ranging from the extent of Eli’s Daredevil superpowers to his impossibly small Braille Bible), but I think the film more than makes up for these nitpicks with a genuine passion for classic post-apocalyptic cinema. Several critics accused the film of being a knockoff of superior productions, but I’d argue that both Whitta and the Hughes knowingly crafted a loving pastiche of genre influences like Mad Max and A Boy and His Dog.

Lastly, it’s no surprise that the cast here absolutely kicks ass. Denzel plays the title role of a stoic badass perfectly (going so far as to train with Bruce Lee’s protégée in order to perform his own stunts) while Oldman effortlessly assumes a surprisingly subdued yet incredibly intimidating persona. Even Mila Kunis is remarkably charming here, though I wish the script had taken the time to develop these secondary characters a little further. And hey, did I mention that Tom Waits is in this?


AND WHAT MAKES IT HORROR ADJACENT?

Denzel’s very first interaction with another human being in this movie results in a gory fight scene culminating in a face-off against a masked brute wielding a chainsaw (which he presumably uses to butcher travelers before eating them), so I think it’s safe to say that this dog-eat-dog vision of America will likely appeal to horror fans.

From diseased cannibals to hyper-violent motorcycle gangs roaming the wasteland, there’s plenty of disturbing R-rated material here – which is even more impressive when you remember that this story revolves around the bible. And while there are a few too many references to sexual assault for my taste, even if it does make sense in-universe, the flick does a great job of immersing you in this post-nuclear nightmare.

The excessively depressing color palette and obvious green screen effects may take some viewers out of the experience, but the beat-up and lived-in sets and costume design do their best to bring this dead world to life – which might just be the scariest part of the experience.

Ultimately, I believe your enjoyment of The Book of Eli will largely depend on how willing you are to overlook some ham-fisted biblical references in order to enjoy some brutal post-apocalyptic shenanigans. And while I can’t really blame folks who’d rather not deal with that, I think it would be a shame to miss out on a genuinely engaging thrill-ride because of one minor detail.

With that in mind, I’m incredibly curious to see what Whitta and the Hughes Brothers have planned for the upcoming prequel series starring John Boyega


There’s no understating the importance of a balanced media diet, and since bloody and disgusting entertainment isn’t exclusive to the horror genre, we’ve come up with Horror Adjacent – a recurring column where we recommend non-horror movies that horror fans might enjoy.

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