Insidious: The Red Door sees Patrick Wilson do a decent James Wan impression, but it always feels like Insidious Lite. DoNatoBomb's review:
Insidious
franchise by showing the Lamberts after a decade’s worth of otherworldly traumatic repression, which disappointingly gets away from what’s otherwise made this series so sinisterly supernatural. Nine years have passed since Josh and Dalton needed to undergo memory suppression after a possessed Josh attempted to murder his family. A subconscious fog blankets the traumatizing event like a sheet over antique furniture. Josh’s groggy state pushes him away from his wife and children—Dalton becomes a hidden-in-his-emo-shell art prodigy .
Hauntings are familial as Josh and Dalton struggle to understand their ambiguous malaise. Not creaky floorboards or cobwebbed basements, but fathers abandoning their families and the paralysis of past traumas drive characters toward future darkness. Wilson keys into Josh’s ambivalence as a parent stuck in stagnation—the mood swings, the evaporating hope—which ends up feeling like a lesser departure compared to what earlierentries have accomplished.
Wilson’s Further is familiar, but lacks any chilly imprisonment tension as lanterns illuminate the misty nether reaches. Josh and Dalton’s reclamation of their shattered lives years later scratches an itch few franchises are afforded, but the one-note execution of father and son sappiness retraces commonplace Trauma Horror blueprints out of an A24 sketchbook.
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