Preston Barta // Features Editor
INSIDIOUS: THE RED DOOR
Rated PG-13, 107 min.
Now playing in theaters.
The INSIDIOUS franchise is one of the more consistent in quality and fun spooks. Admittedly after five entries, the creativity has wowed little since the original 2010 film and arguably its strongest sequel, 2015’s INSIDIOUS: CHAPTER 3. But each movie is never a waste, even when it gets downright silly, such as CHAPTER 2.
No matter how goofy the dialogue is or how much they won’t let Lin Shaye’s character rest in peace, this franchise knows how to properly build tension and create an emotional core that rings true. And Patrick Wilson’s directorial debut, INSIDIOUS: THE RED DOOR, is no different.
THE RED DOOR doesn’t come off its hinges with its horror, but it’s easily the most emotionally felt entry, focusing largely on the relationship between a father and son. Wilson brings the original family back. It’s been a decade since the Lamberts have been on screen, and a lot has changed. Josh (Wilson) and Renai (Rose Byrne) are divorced, and their children are all grown up. Their son Dalton (Ty Simpkins), who was the center of the first two INSIDIOUS films, is at college.
The problem? Well, Josh and Dalton push through life these days with a lot of confusion. The audience knows they’ve been through a lot, but they don’t. If you remember, what they experienced was wiped clean from their memory. So, Josh doesn’t remember an entity taking over his body and going all Jack Torrance on everyone. Dalton doesn’t remember being stuck in The Further, the dimension at the intersection of heaven, Earth and hell, ruled by the Lipstick-Face Demon.
Josh feels like an empty vessel and a non-engaged father, and he wants to change that. And Dalton is entering art school, and his art is revealing things about himself that he doesn’t remember. Painting of a red door and a scary figure are making their way on his canvas, and he has yet to learn what it means. That means it’s time to dig deep, face old demonic friends, and, hopefully, not die along the way.
Where THE RED DOOR succeeds is keeping the family at the center. Too easily could these films become consumed by meaningless terror. You know the type: characters walking into danger, but you don’t care about the characters, so it doesn’t matter. INSIDIOUS cares about its characters. The words coming out of the mouths may not always be well written, but how their internal journeys are the driving force of intrigue, especially with Dalton this go-round. The whole exploration of what’s going on in his head through art is a brilliant idea, and where it ends up is dramatically satisfying. A bit cheesy, sure, but who could say no to a father and son hugging it out? It’s sweet.
Wilson pulls off a few well-executed scares. A scene where his character undergoes a Ct scan is equivalent to the car wash scene in 2010’s THE CRAZIES. No one likes being stuck in a small space while god knows what is at your feet or head.
The main ingredient missing here is a worthy antagonist. We see the return of the Lipstick-Face Demon, but it could be a stronger presence. In CHAPTER 3, the Man Who Can’t Breathe (an entity walking around with an oxygen mask) gives us something to fear. In THE RED DOOR, there are freak-looking things, but it all feels random. We are not given time to fear them because each one doesn’t really stick around. Just as much as we need characters to care about on the good side, we also need characters to fear on the bad side in a horror movie.
In all, THE RED DOOR is a middle-of-the-franchise entry. It’s nothing super memorable, but it gets you in and out in about an hour and a half without time feeling wasted. Whenever horror wins the box office (currently at No. 1), I’m happy. So, if you’re looking for a solid time, open THE RED DOOR.
Grade: B-
