The fourth installment in the Insidious movie franchise serves no other purpose than to fill theaters during slow movie months.
The novelty of this series ended after the first film in 2010 and has never picked up since.
Countless horror franchises have strived to depict ghost hunting as a serious job. Some have failed spectacularly to do so, resulting in the films being simply laughable. Others, such as the Insidious series, have successfully captivated and scared audiences with tales of fearless paranormals facing demons that are otherwise too powerful to overcome.
Ghost hunter flicks are always met with a degree of skepticism, though past hits, such as The Amityville Horror and The Conjuring, prove that the genre remains in high demand among movie-goers.
But unlike Insidious, the aforementioned moviea were purportedly based on true events, which make them both more reliable and prone to artistic license at the same time.
Insidious's fictional storyline, therefore, saves it from being doubted by critics and skeptics, and allows it to present itself purely as a piece of entertainment.
Four films into the series, Insidous: The Last Key is a sequel-to-a-prequel that gives an interesting look into demonologist Elise Rainier's (Lin Shaye) life as a child. However, it fails in everything else it aims to do, particularly in providing genuine scares.
Granted, Rainier is arguably the most interesting character of the franchise.
The other main protagonists, Rainer's bumbling sidekicks Specs (Leigh Whannell), have always appeared as nothing more than comic relief in between cheap jump scares, and therefore, offer no depth or are not interesting enough for the audience to want to know more about them.
Rainier' on the other hand, is a strong-willed woman who functions almost as a superhero in every installment she appears in. The Last Key offers a look into the demonologist's origins and the traumas she experienced in her childhood home, both spectral and physical.
This origins premise is interesting, showing audiences how Rainer developed her strength and courage .
The film itself is not free of horror cliches: Spirits taking the shape or voice of a young girl, jump scares (enough!), the pale makeup - all the usual things we see in countless other movies of the genre.
One would expect more from a producer like James Wan, who is known for producing and directing horror films such as Annabelle, The Conjuring and several of the Saw installments. But at least he's consistent in his use of cliches.
Dylan Amirio
The Jakarta Post/Jakarta
The novelty of this series ended after the first film in 2010 and has never picked up since.
Countless horror franchises have strived to depict ghost hunting as a serious job. Some have failed spectacularly to do so, resulting in the films being simply laughable. Others, such as the Insidious series, have successfully captivated and scared audiences with tales of fearless paranormals facing demons that are otherwise too powerful to overcome.
Ghost hunter flicks are always met with a degree of skepticism, though past hits, such as The Amityville Horror and The Conjuring, prove that the genre remains in high demand among movie-goers.
But unlike Insidious, the aforementioned moviea were purportedly based on true events, which make them both more reliable and prone to artistic license at the same time.
Insidious's fictional storyline, therefore, saves it from being doubted by critics and skeptics, and allows it to present itself purely as a piece of entertainment.
Four films into the series, Insidous: The Last Key is a sequel-to-a-prequel that gives an interesting look into demonologist Elise Rainier's (Lin Shaye) life as a child. However, it fails in everything else it aims to do, particularly in providing genuine scares.
Granted, Rainier is arguably the most interesting character of the franchise.
The other main protagonists, Rainer's bumbling sidekicks Specs (Leigh Whannell), have always appeared as nothing more than comic relief in between cheap jump scares, and therefore, offer no depth or are not interesting enough for the audience to want to know more about them.
Rainier' on the other hand, is a strong-willed woman who functions almost as a superhero in every installment she appears in. The Last Key offers a look into the demonologist's origins and the traumas she experienced in her childhood home, both spectral and physical.
This origins premise is interesting, showing audiences how Rainer developed her strength and courage .
The film itself is not free of horror cliches: Spirits taking the shape or voice of a young girl, jump scares (enough!), the pale makeup - all the usual things we see in countless other movies of the genre.
One would expect more from a producer like James Wan, who is known for producing and directing horror films such as Annabelle, The Conjuring and several of the Saw installments. But at least he's consistent in his use of cliches.
Dylan Amirio
The Jakarta Post/Jakarta
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