The Conjuring was such a breath of fresh air within the horror genre that Warner Bros. almost immediately began developing an interconnected universe, which included spin-offs that didn’t feature Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga). Although theoretically, this could have given the franchise an opportunity to do something new and exciting, the 2014 prequel Annabelle felt like a cheap knock-off that was far too derivative of what James Wan had already done. It would have been easy to dismiss all future spin-offs to The Conjuring as cynical endeavors, but Annabelle: Creation was the rare franchise prequel that deepened the mythology and told its own story. While it added context to The Conjuring that made it more emotionally satisfying, it also served as a great introduction for viewers who had never engaged with the franchise before.

Finding someone who could bring the same expertise to the horror genre that Wan had in The Conjuring was always going to be a challenge, but Annabelle: Creation was directed by David F. Sandberg, a talented up-and-coming filmmaker whose debut film, Lights Out, had been a surprise hit. Sandberg found a way to make the intimate family drama tie into the supernatural horror, and added strong commentary on grief, loss, and faith that gave the prequel an identity of its own. Although the series would continue with prequels like The Nun and Annabelle Comes Home, Annabelle: Creation remains the best Conjuring spin-off.

What Is ‘Annabelle: Creation’ About?

Annabelle: Creation is set the furthest back in the Conjuring timeline, as the film opens with a brief sequence in 1943 before moving forward to 1955. The dollmaker Samuel Mullins (Anthony LaPaglia) and his wife Esther (Miranda Otto) lose their daughter Annabelle in a tragic car accident, which turns them into recluses for 12 years. However, Samuel and Ether open up their home to new visitors in 1955 when Sister Charlotte (Stephanie Sigman) arrives seeking shelter for a group of six girls who were left homeless after the closing of their orphanage. During their stay, the sickly girl Janice (Talitha Bateman), who is suffering from polio, discovers that Samuel and Esther made a deal with a demon to see their daughter again; as a result, the demon took control of a doll that had once belonged to Annabelle. Although the Mullins couple invited Charlotte and the children to their home as a way of redeeming themselves for their evil actions, it inadvertently creates a scenario in which the demon has a new crop of potential victims to prey upon.

While The Conjuring and its direct sequels work as investigative thrillers about paranormal experts, Annabelle: Creation examines how fear and pain can divide people with strong beliefs. The film is sympathetic towards the Mullins, as they were so blinded by grief that they became unexpected pawns for a demon with more sinister intentions. Annabelle’s doll became a gimmick in the later films, but Annabelle: Creation shows how certain objects have power because of what they represent; for Samuel and Esther, it’s the one thing that reminds them of their daughter’s memory. The film also has an interesting depiction of faith, as it shows how individual figures within the larger Catholic Church have the power to interpret religious texts in a way that benefits those who need it most. While The Nun would go on to show the corruption at the heart of Catholicism, Charlotte is an engaging protagonist in Annabelle: Creation because she is trying to provide a normal, dignified life for children who’ve been denied any pleasures.

‘Annabelle: Creation’ Provided an Emotional, Haunting Origin Story

Although there are many installments in the franchise that occur during different points in world history, Annabelle: Creation takes advantage of the post-war tensions of the 1950s, in which isolated communities grew more insular. Annabelle: Creation shows the danger of being cut off from the world, as Esther and Samuel have attempted to forgo communication with any outsiders as they try to hide the sins of the past; what they don’t realize is that this has made them even more vulnerable, and made it harder for them to develop an honest connection with characters like Charlotte when they need help. Sandberg does a great job at using the rudimentary technology, dusty southern visuals, and creepy architecture to create a visually dynamic film. While there are still some jump scares, the spookiest parts of the film are when Sandberg includes extended moments of tension.

Annabelle: Creation has important details about the origins of both the demon and doll that make every subsequent entry in the franchise more profound. However, Annabelle: Creation succeeds because it has a powerful message about the responsibility of parenthood, and how even empathy can become distorted; the Mullins don’t realize that their inability to let go has made them a threat, and Charlotte is forced to play a maternal role in the lives of the orphaned girls, despite still coming into her own identity. Rather than drawing from haunted house films like The Conjuring, Annabelle: Creation embraces the Southern Gothic aesthetic and benefits from not having to rely on the ostensibly “true” stories about the Warrens. Rather than trying to replicate what came before, Sandberg had an original take that proved that the franchise was sustainable without the Warrens. As emotional and thought-provoking as it gets, Annabelle: Creation proves itself to be a worthy spinoff by being really damn scary when it counts the most.