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Ouija earned a staggering 7 percent rating on Rotten Tomatoes (though Vulture’s former film critic Bilge Ebiri called it “confident, meat-and-potatoes horror”), while Annabelle earned 29 percent and Ebiri’s distinct boredom. In the interest of ensuring we’ll never have to watch another The Rage: Carrie 2 again, we’ve compiled some tips for franchise filmmakers current and future. The best way to elevate your franchise: Inject it with proven directing talent. Origin of Evil replaced Stiles White (whose only directorial credit was, and still is, Ouija ) and secured Blumhouse Productions workhorse Mike Flanagan, who was just coming off Oculus and Hush, both massive horror hits. Annabelle: Creation, meanwhile, swapped out John R. Leonetti — the man behind The Butterfly Effect 2 — for David Sandberg, who made Creation his first follow-up after last summer’s surprise smash, Lights Out. Both made immediate and obvious improvements upon their respective originals; the sequels were more terrifying and more technically impressive. In jump-scare-centric movies, the biggest challenge is making sure the audience doesn’t get bored. There’s no higher purpose here, other than the repetition of build-up, pay-off, and Sandberg and Flanagan both maintain tension better than their predecessors, establishing pacing that mitigates the long lulls plaguing the earlier movies. As a viewer, to protect yourself against the imminent scares, you have to search the ominously empty frame in tense moments to make sure he doesn’t catch you off guard — but more often than not, he still does. For his part, Creation ’s Sandberg laces together what are essentially wall-to-wall bits, each time adding an extra beat at the end; when you think the moment has already passed, that’s when Sandberg attacks. Both Origin of Evil and Creation retcon their forebears by starting all the way at the beginning of their franchise’s stories, subsequently erasing the sins of their fathers and making room for more possible sequels in the future — while simultaneously making their bad predecessors more interesting by tying them to a larger mythology. Origin of Evil widens the scope of the Ouija story, moving beyond a single game or even a single family to link the torment of the demons all the way back to the horrors of the Holocaust (and one crazy, mad-scientist doctor performing human experiments in the basement of an anodyne suburban home). Creation reveals that the Annabelle doll didn’t just become a satanic vessel after a horrifying act of domestic violence, as per the first film. Instead, it gives her an even spookier backstory: Turns out, decades before landing in the clutches of The Conjuring ’s spirit mediums Lorraine and Ed Warren, the doll was imbued with the spirit of an opportunistic demon that posed as a dead child, and preyed on a pair of grieving parents who longed to connect with their daughter again. Sure, people running around a house because something is chasing them is scary — but when you have to fear the house itself, the tension never really lets up (as long as the walls are still standing). The Terrible Place is a fundamental tenet of horror cinema, and if you build a good one, there’s a sturdy foundation on which to build everything else. The improved locations are great set pieces, but more than that, they’re characters in and of themselves, extensions of the malevolence.

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