The Portable Door (2023)

Desperate for a job to cover his rent, bumbling Paul Carpenter (Patrick Gibson) - through a series of unlikely coincidences - stumbles into an interview at London's mysterious J.W. Wells and Co.

Somehow acing the interview, he and fellow interviewee, Sophie Pettingel (Sophie Wilde), are taken on as interns.

It is only then that they truly discover what the company does: magically shift reality to create beneficial coincidences for their clients.

Paul, it seems, has a gift for "divining", which company CEO Humphrey Wells (Christoph Waltz) seeks to use to find his missing "portable door" (which turns out to be a brilliant magical device capable of opening portals to anywhere the user desires).

However, there are forces within the company seeming set upon blocking Paul's progress.

Overall, The Portable Door is a fun, fantasy adventure, with an amazing cast of distinguished actors, such as Sam Neill and Miranda Otto, bringing their A-games to a variety of supporting roles.

Based, apparently, on the first in a series of books by Tom Holt, the twists and misdirections in Leon Ford's script (directed by Jeffrey Walker) are impressively orchestrated, if occasionally obvious.

However, while I'm all in favour of weirdness and inexplicable goings-on in my films, for what is essentially a "young adult" story there's a bit too much obfuscation and confusion in the narrative, hindered by the common problem that a lot of the action takes place in poorly lit environments.

There is also the issue of the story's obvious comparisons to the Harry Potter franchise, with JW Wells feeling like a corporate Hogwarts - with a dash of Warehouse 13 craziness thrown in for good measure.

Paul is a Harry/Ron surrogate, the gifted Sophie is a Hermione, Sam Neill's hostile Dennis Tanner is Snape, Miranda Otto (drawing upon her Zelda Spellman from Chilling Adventures of Sabrina) as Countess Judy is Professor McGonagall etc

The way the story employs supernatural goblins is also an obvious similarity (not that JK Rowling has a copyright on "goblins", of course).

Nevertheless, for all the Potterisms on display, ultimately the world of The Portable Door remains intriguing and full of possibilities.

Running for almost two hours, the film doesn't drag, but could also do with tightening its belt a bit. It certainly doesn't need to be that long.

I've never heard of Tom Holt's J.W. Wells & Co. book series, and this didn't make me want to rush out and read them but I'd certainly be interested in seeing further adaptations in this "corporate magic" style of adventure.

Annabelle Comes Home (2019)

Annabelle Comes Home is a masterclass in teen horror movie making.

While, on one hand, not much scarier than the best episodes of Supernatural, nor even as gory, on the other writer/director Gary Dauberman concentrated on escalating tension, menace, and atmosphere.

You always suspected a jump scare was coming, but, in truth, there were only a couple in the film, the majority were red herrings, but you never know which were which until the final 'boo!'.

The film opens with the backstory of how Annabelle came into the possession of The Conjuring's protagonists, Lorraine and Ed Warren (Vera Farmiga and Patrick Wilson) and a succinct explanation of the doll's powers (she isn't possessed, as demons don't possess objects, instead she acts as a beacon and a conduit for dark forces).

Then the story jumps forward a year, to 1972, and Annabelle is safely squirrelled away in the Warrens' locked room of evil artifacts.

The Warrens are heading out on another case, leaving their young daughter Judy (Mckenna Grace) in the care of Brady Bunch-like babysitter Mary Ellen (Madison Iseman).

At first I felt a bit cheated when I realised that the Warrens themselves would just be bookending the story of Annabelle Comes Home, but as it turns out I should have trusted Gary Dauberman to know what he was doing.

Having learned what the Warrens do for a living, Mary Ellen's best friend, Daniela Rios (Katie Sarife) drops in to surreptitiously check out the "room of cursed objects".

She is wracked with guilt over the recent death of her father, and is hoping to find a way to contact his spirit.

Instead, she is tricked into releasing Annabelle, who, in turn, unleashes as many of the trapped entities in the Warrens' secure room as she can.

The variety of spooky objects that come into play reminded me of a cross between the Friday the 13th TV series (nothing to do with Jason Voorhees) and the wonderful Warehouse 13, with the predictive television set being a particular visual highlight.

The climax, which draws in May Ellen's would-be boyfriend, Bob Palmeri (Michael Cimino), is a funfair thrill ride of spooks, monsters, and mind-trickery as a demon uses Annabelle to try and steal one of the young women's souls.

Ultimately, Annabelle Comes Home is Buffy The Vampire Slayer level teen drama and urban fantasy scares, but on a bigger budget, with enough atmosphere and misdirection to keep the audience on the edge of its seat throughout.

As always with this franchise, the film capitalises on its period setting to heighten the verisimilitude, making the jeopardy and threat wholly convincing for both the audience and the teenagers trapped inside the haunted house.

Balancing out the jump scares, there's also some laugh out loud moments, and Dauberman has a great knack of making full use of the screen, so you always have to keep half-an-eye on what's going on in the background.

Beyond question, Annabelle Comes Home is delightfully creepy and simultaneously thrilling and unnerving, making it one of my favourite entries in the ever-expanding Conjuring Universe.

While Universal may have failed to launch its Dark Universe, reinventing their classic characters for 21st Century audiences, Warner Bros and New Line Cinema were quietly building an impressive, interconnected, universe around the mythology of The Conjuring movies.

They're not all hits, but the winners outweigh the duds. Long may it last.