I’ve gone on the record as saying that Insidious
is probably one of my favorite horror movies of the last decade. Sure, it doesn’t really have that much to compete with, but still. Sadly, Insidious 2
shat all over the success of the original in a misguided attempt to wring a few more dollars out of the property. So, here’s Insidious: Chapter 3
to complete the process and turn the franchise into another Final Destination
or Friday the 13th
Horror icon James Wan steps away from the director’s chair for this entry in the series to be replaced by his long-time writing partner Leigh Whannell. Wan and Whannell have been collaborating for years, and their combined efforts have yielded some modern-day horror paragons like the Saw and Insidious series. However, as I said way back in my Insidious 2 review, the story was well and truly over even after the first film and just continuing to tack on more installments was just blatantly unnecessary.
The first Insidious is a bit of an odd duck for me, because while it really doesn’t do anything new or advance the genre to any great degree, it executes its tight, self contained story so well and with such undeniable style that I didn’t really care. There was such a constant atmosphere of oppression and hopelessness, temped with a beautifully slow-boil kind of tension that built to an emotionally harrowing climax.
While Insidious 2 let itself down on pretty much every one of those points, Insidious 3 at least maintains that methodically building tension, but really missteps when it comes to paying it off. The highlight of the experience for me came around the midpoint when our protagonist, Quinn, lies in her bed with two broken legs, immobile and incapable of defending herself. The monster of the hour appears in a nerve-wracking sequence, and essentially begins toying with Quinn, throwing her out of bed and slowly, methodically moving around the room, closing the curtains, shutting her laptop, and really eliciting the kind of psychological torment that we don’t see enough of these days. I was kind of stunned; the Insidious 3 cash-grab was the last place I expected to find such a beautifully crafted and genuinely frightening sequence. That’s horror, my friends: being absolutely alone and defenseless against something that hates you and is determined to gradually wear away your resolve until you’re little more than a quietly weeping mess. It is not, however, a super-powered granny using a Dragon Ball Z super stomp attack during the film’s climax.
Yes, things really fall apart at the end as the film kicks any notion of a tense and emotionally satisfying climax in the head. You were doing so well, Insidious 3! It turns out that all that tense, atmospheric intrigue that had been building up is pretty much thrown out the window in the final act, in favor of Lin Shaye’s Elise Rainer running around a slightly dark maze and performing the super-stomp on the bad guy at the end. That ain’t my Insidious, I can tell you that.
The recurring “comedy” characters in the series, Tucker and Specks, played by Angus Sampson and Whannell, respectively, also make an appearance, but I find their necessary inclusion kind of misguided. Whenever these jokers show up, the tension automatically dissolves because it’s hard to maintain the proper tone with Laurel and Hardy bumbling around. As far as the plot is concerned, their presence is hardly necessary and it seems like they were just included because that’s what the first Insidious did.
Look, either be a horror film, or be a comedy. When you try to be both at the same time, you end up with a movie that so schizophrenic in tone that it ought to be in a straight jacket. I can appreciate the desire to include some moments of levity to juxtapose with the horror so that the really dark moments are more emotionally impactful, but horror and comedy are such opposites that a major tonal shift half way through the movie is going to undermine everything you’ve been working for up until that point.
Insidious: Chapter 3 is marred right off the bat by being an unnecessary sequel, but if you can manage to look past that, it’s competently paced and builds up to a frightening moment or two around the midpoint. After that though, it’s all down hill. The atmosphere and tension whither away into nothing when Jake and Elwood show up, leaving the film to potter around for another hour before winding up with the incredibly disappointing granny super moves. If you look closely, you can see glimpses of the original winning formula, but the original vision has been exploited for coin twice now, so it’s not entirely surprising that the idea well is running dry.
Rating: 2.5 out of 5