I feel like I need to revisit Insidious: Chapter 2. I recall being unimpressed at the time, a surprise given James Wan’s track record, but I feel like it’s a movie I would have a lot more respect for nowadays because of the wild swings that film takes. Plus, there are elements in the latest installment of the series, Insidious: The Red Door, that connect to that second film. So, if I do revisit it, and enjoy it more, I think I could confidently say that there isn’t a single bad movie in the Insidious series. Granted, aside from the first one, I wouldn’t call any of the follow-ups great, but they’ve been remarkably solid and consistent. It’s a better batting average than most horror franchises, that’s for sure.
The Red Door, which on the surface appears to be a sort of closing chapter for the series, has a couple “firsts” for the franchise. It’s the first film to not be written by Leigh Whannell, who only shares a story credit with Scott Teems, who takes solo writing duties. It’s also the directorial debut for actor Patrick Wilson, a fascinating performer in his own right, one of my favorites. A guy who looks like a clean cut Hollywood star, but with a dark, weirdo energy that I think has largely kept him from being more of a mainstream success on the level of like one of the many Chrises.
The film takes place nine years after the events of the second film, Josh (Patrick Wilson) has long been divorced from Renai (Rose Byrne), though their dynamic is still fairly amiable, young Dalton (Ty Simpkins) is not so young anymore, he is now going to college, and in an attempt to fix the iffy bond between the two, Josh drives Dalton to college to help set him up at his dorm. They end up having an argument, and part ways, but the real problems start when they both start to experience strange hauntings that might be related to something from the past, something they have long been made to forget.
The big central theme behind the film is the idea that secrets and trauma that when left hidden and unchecked is bound to return and manifest in ugly ways. In this case, it’s a literal haunting by ghouls from The Further, the realm where lost souls are cursed to remain, but the point remains, and the idea is followed through in every major character and emotional beat. Both Dalton and Josh have experienced horrific things in the previous films, and must deal with those forces directly, and it is only through finding themselves, and being able to trust in each other are they able to achieve that.
It’s a more somber installment of the series, it literally opens with the funeral for Josh’s mom, Lorraine (Barbara Hershey), and it keeps that mood flowing under the surface for almost the whole film. Unlike some of the other previous films, which focused on expanding the lore of The Further, often with a gleeful exuberance, this one is more focused on the family dynamic, and it was fairly quick into the film that I found myself quite invested. It certainly helps that the actors have lived these characters for quite a while, they carry their whole history on their shoulders with ease.
So, as far as the horror aspect goes, it’s mostly fine. Wilson clearly picks up a few things from his work with Wan, especially with the use of things in the background slowly making themselves known, the fake-outs, and the whole bit where a character will look at one place two times, and when they look a third, the scare comes in from a different side. The camera work isn’t as adventurous as these movies tend to be, but it’s functional for what Wilson is going for. Since the lore isn’t a big focus, there is no real villain, which is a slight disappointment. The Lipstick-Face Demon is technically the big bad, I guess, he makes a couple appearances, but his presence isn’t as felt. Even the other follow-ups have had memorable villains such as The Man Who Can’t Breathe from Chapter 3 and Keyface from The Last Key.
Ultimately, what makes Insidious: The Red Door work is the commitment to completing the story of the Lambert family, and offering some closure. I can see why this story would appeal to Patrick Wilson, as it allows him to really dig deeper into the character in ways that probably wouldn’t have had the room to breathe in other installments that had a greater focus on set-pieces. This film certainly has them, but they are ultimately a means to move the story forward and inform the characters’ journey. Does it all work? Not quite, there is an added element of Josh exploring the truth about his father that doesn’t get as much focus as his relationship with Dalton. There’s some occasionally clunky dialogue that is meant to help the audience catch up with what’s been happening with the family. But when it works, it works. The sets are vibrant and colorful, Sinclair Daniel is a standout as Dalton’s roommate Chris, and I’m sure the fog machine industry is more than happy that another one of these is being made. It’s another perfectly solid entry to the series, just slightly elevated by a more personal take on the story. So personal in fact that Wilson decided to sing with the Swedish metal band Ghost for the closing credits song, “Stay.” You know what, Patrick, good for you.
Insidious: The Red Door is now out in theaters.