Determined to keep Annabelle from wreaking more havoc, demonologists Ed and Lorraine Warren bring the possessed doll to the locked artifacts room in their home, placing her “safely” behind sacred glass and enlisting a priest’s holy blessing. But an unholy night of horror awaits as Annabelle awakens the evil spirits in the room, who all set their sights on a new target—the Warrens' ten-year-old daughter, Judy, and her friends.
Determined to keep Annabelle from wreaking more havoc, demonologists Ed and Lorraine Warren bring the possessed doll to the locked artifacts room in their home, placing her “safely” behind sacred glass and enlisting a priest’s holy blessing. But an unholy night of horror awaits as Annabelle awakens the evil spirits in the room, who all set their sights on a new target—the Warrens' ten-year-old daughter, Judy, and her friends.
The film is a supernatural horror story focused on apolitical themes of fear, survival, and the battle against evil. While it features faith-based elements inherent to its universe, these serve the horror narrative rather than promoting a specific political ideology.
The movie features a cast that includes some diversity, but it does not involve explicit recasting of traditionally white roles. Its narrative focuses on supernatural horror without critiquing traditional identities or making DEI themes central to the plot.
The film consistently portrays Christianity, particularly Catholicism, as a powerful and necessary force against supernatural evil. The Warrens' deep faith and religious practices are depicted as their primary means of protection and their most effective weapon against demonic entities, aligning the narrative with the virtues of the faith.
The film 'Annabelle Comes Home' does not feature any identifiable LGBTQ+ characters or themes. The narrative focuses exclusively on supernatural horror elements, with no depiction of queer identities or related storylines.
The movie does not contain any action or adventure elements.
The film features established characters like Ed and Lorraine Warren, who are portrayed consistent with their historical and canonical genders. New characters introduced in this installment do not have prior canonical genders to be swapped. No instances of gender swapping are present.
The film features established characters like the Warrens and Judy, who are portrayed by actors matching their historical and prior cinematic depictions. New characters introduced in this installment do not have pre-established racial identities to be swapped from. Therefore, no race swap occurs.
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