“Insidious: The Red Door”: A Nostalgic Return or a Final Nail in the Coffin?
In 2023, the renowned horror franchise “Insidious” marks its 13th anniversary. Given the number 13’s reputation for misfortune, expectations weren’t high for the fifth installment in James Wan’s universe. The declining ratings of recent sequels only reinforced this sentiment. However, the appointment of Wan’s favorite, Patrick Wilson, as director offered a glimmer of hope. After all, if Wilson couldn’t revive the franchise, who could? Wan’s return to “Insidious” seemed unlikely, as his commitment to multi-million dollar superhero blockbusters for Warner Bros. consumed too much of his time and creative energy. Moreover, Wan’s recent horror film, “Malignant,” suggested that he had grown weary of straightforward ghost stories.
Patrick Wilson as Josh in a still from “Insidious: The Red Door”
“The Red Door” unfolds nine years after the events of “Insidious: Chapter 2,” revisiting the Lambert family. Dalton (Ty Simpkins) embarks on his studies at an art college, where he unexpectedly resumes astral projection. Meanwhile, his father, Josh (Patrick Wilson), faces a challenging period marked by his mother’s death (Hiam Abbass), a difficult divorce from Renai (Rose Byrne), and mysterious memory lapses. Josh attributes these lapses to aging, unaware of the sinister apparitions lurking behind him. Eventually, father and son confront the very thing they’ve been running from for years: the red-faced demon from hell.
Ty Simpkins as Dalton in a still from “Insidious: The Red Door”
A Family Drama with Ghosts
On paper, revisiting the Lambert family’s story seemed like a promising move, potentially rescuing the franchise or at least restoring it to its former glory. The prequels/spin-offs centered on the psychic Elise (Lin Shaye) demonstrated that nothing resonated with audiences quite like a good old-fashioned family drama. Elise, despite her merits, lacked close family ties beyond her silent spaniel, making her a less compelling protagonist. Josh Lambert, on the other hand, offered a different dynamic. Amidst the supernatural elements – old women in black veils were never so terrifying – the first “Insidious” largely focused on the simmering marital crisis between Josh and his wife, Renai, which reached its peak in the second installment. Living through Stephen King-esque scenarios takes its toll: the protagonists’ marriage crumbles, and their eldest son, Dalton, predictably distances himself from his emotionally unavailable father. In “The Red Door,” new screenwriter Oren Peli, succeeding Leigh Whannell (who is now too busy and famous for “Insidious”), continues the themes of intergenerational trauma, responsibility, and fatherhood established at the franchise’s inception. However, he becomes too engrossed, transforming what was once a horror film into a touching but misplaced melodrama.
Still from “Insidious: The Red Door”
Echoes of the Past
Wilson, whether out of a desire to maintain consistency or a genuine admiration for Wan’s directorial style, actively emulates Wan’s cinematic approach. In some instances, he literally inserts scenes from the first “Insidious,” adding only vomiting escapades and a few biblical references. For a franchise already in a comatose state, this lack of creative vision feels like a death knell. “The Red Door” barely resembles a standalone horror film; it’s more like an unnecessary story for die-hard fans. The fifth “Insidious” offers a range of fan service: a hilarious two-minute cameo by Specs and Tucker (Leigh Whannell and Angus Sampson), and Wilson managed to bring back the original cast, including the Lambert family, Lin Shaye as Elise, and Steve Coulter as Carl. If you view “The Red Door” as a definitive conclusion to Josh and Dalton’s story, watching the slowly decaying corpse of “Insidious” becomes less painful. One can only hope that the producers haven’t planned another installment – Carl and his magic bones could attract plenty of terrifying ghosts.