The Denver Post

“Annabelle: Creation” is scary good

- By Michael O'Sullivan

★★★5 Rated R. 109 minutes.

If we have learned anything from the Cooking Channel, it’s that talent isn’t defined by the ingredient­s you use but what you do with them. By that measure, director David F. Sandberg is an alchemist of the first order, taking the base — even leaden — components of horror and whipping them into a shivery chiffon of dread.

The Swedish filmmaker did it with his debut feature, “Lights Out,” which milked a deceptivel­y simple, yet sublimely spooky premise — the boogeyman only appears when the lights go out, and vanishes as soon they’re back on — for all it was worth. And he has done it again — with even cheesier material — taking the cliche-filled pantry of the Devil-doll prequel “Annabelle: Creation” and turning out a dish that, while pulled together from the familiar components of the ghost story, is uncommonly, nerve-wrackingly satisfying.

The recipe Sandberg uses is one we’ve seen before, mixing bits and pieces from a screenplay by Gary Dauberman (who also wrote the much less effective “Annabelle,” a 2014 spinoff from the universe of “The Conjuring”). The 1950s-set tale, which centers on orphans living in a remote, sprawling house, complete with balky electricit­y, a drafty dumbwaiter and an abundance of secret crawl spaces, also features: a locked room; a dead child; a well; a reclusive invalid who wears a “Phantom of the Opera”-style half-mask; and, for crying out loud, a nightmaris­h scarecrow.

Twelve years after losing their daughter, known as Bee (Samara Lee), in a car accident, Sam and Esther Mullins (Anthony LaPaglia and Miranda Otto) open their home to six orphaned girls and a nun (Stephanie Sigman).

In short order, one of the girls begins to see spooky apparition­s. And the aforementi­oned doll — which she discovers in a locked room lined with pages from the Bible — just won’t stay put.

On paper, “Annabelle: Creation” shouldn’t work. But to be fair, what horror movie doesn’t sound stupid when you talk about it? Horror works — or it doesn’t — in the flickering, moving images of the screen, not the page.

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