Film

Annabelle Comes Home

Name: Annabelle Comes Home
Genre: Horror
Released: 2019
Cast: Mckenna Grace, Madison Iseman, Katie Sarife, Michael Cimino, Samara Lee

A haunted-doll spinoff that trades the Conjuring films' slow-burn dread for straight-up spectacle: possessed artifacts run amok in the Warrens' artifact room while their daughter and her friends become targets. It's a genuinely fun haunted-house movie that knows exactly what it is, with strong creature design and a teen cast you actually root for. Made for people who love horror but don't need it to hurt.

TMDb rating

3.2

If you liked this

Poltergeist1982

The blueprint for family-under-siege horror, with practical effects that still startle and a genuine sense of a home under occupation. Spielberg's fingerprints give it real warmth beneath the scares.

But Slower pacing than modern horror, and some of the effects look their age—which is part of the charm, but not for everyone.

The Conjuring 22016

James Wan at his most confident, layering genuine scares with character and humour. Vera Farmiga returns as Lorraine, and the Enfield poltergeist haunting is endlessly inventive.

But Two and a half hours is a commitment, and the third act leans harder on spectacle than the setup earned.

Insidious2011

An absolutely efficient haunted-family thriller that does more with atmosphere than budget. The red-tinted 'Further' sequences are genuinely unsettling and visually distinctive.

But The twist will divide you—some find it brilliant, others think it undermines everything that came before.

Not sure tonight? Get a pick in a minute, starting from Annabelle Comes Home

The wildcard

Something you would not have found on your own.

The Innocents1961

Both hinge on a child and the supernatural, but where Annabelle is visceral spectacle, Innocents is mounting unease inside your own head—different engines for the same essential fear.

A 1961 film where children may or may not be haunted, or may be haunting—Jack Clayton leaves it perfectly ambiguous. Gorgeous black-and-white that makes the familiar ghost-story setup feel like something you've never seen.

But Psychologically slow and philosophically uncertain, the opposite of Annabelle's straightforward scares. If you want clarity and spectacle, this withholds both deliberately.

Sinister2012

Ethan Hawke trapped in a house with cursed home movies. Methodical, creeping dread that builds to genuine horror. The Super 8 sequences are some of the scariest thing modern horror has produced.

But Genuinely disturbing—not jump-scares, but sustained wrongness. Not a fun night out; a commitment to being unsettled.

The Ring2002

An American remake that betters the original: a curse logic that's both airtight and absurd, and Naomi Watts giving real weight to the threat. The videotape still holds up.

But The middle hour sags as exposition, and it's less interested in character than in the mechanics of the curse.

Insidious: Chapter 22013

Rare sequel that expands the mythology without losing the intimate scares. Patrick Wilson and Rose Byrne carry the emotional core while Wan orchestrates chaos around them.

But Arrives mid-franchise when you might be fatigued with the rules; assumes familiarity with the first film.

The Ring Two2005

The curse evolves and gets weirder; Watts vs. Samara in a more visceral, ambitious second round. Visual set pieces that feel genuinely novel for sequel horror.

But Darker and meaner than the first, which some love and others find gratuitous. The ending divides people sharply.

Drag Me to Hell2009

Sam Raimi at full tilt: a good-person-cursed story that's genuinely grotesque and laugh-out-loud funny. Alison Lohman anchors the chaos with real sympathy.

But Horror-comedy that swings wildly; the humour might defuse the scares you wanted, or the gore might kill the comedy you came for.

Ouija: Origin of Evil2016

Mike Flanagan makes a 1960s séance-gone-wrong with genuine period dread and smart craft. A prequel that works as its own film, especially if you ignore the original.

But The first Ouija film is terrible, which makes this feel like a second chance you didn't ask for. Some resent that it's better than its predecessor.

Dark Skies2013

Same DNA as Annabelle—home invaded, family in danger, artifacts of the threat—but Dark Skies asks you to live with doubt. Annabelle gives you monsters to look at; Dark Skies denies you that relief.

An alien-haunting film dressed as suburban family horror, with restraint and genuine creeping dread. Scott Stewart finds terror in the blank, the invisible, the unconfirmable—far more unsettling than any possession.

But Resolutely unglamorous and sceptical of easy answers. The scares aren't designed to make you jump; they're designed to make you uneasy about your own ceiling.

His House2020

Both trap a family (child and protectors) in a house where the threat is real and invisible, but His House weaponizes that structure to say something true about what it costs to be unsafe everywhere.

A 'haunted house' film where the real horror is trauma, displacement, and institutional indifference. Genuinely supernatural scares woven through a story with weight and consequence that most horror films lack.

But Not comfort horror—it's about suffering and survival, and the supernatural is metaphor layered over real pain. If you came to forget the world, this demands you remember it.