As a moderate fan of the first, THE CONJURING 2 - though based on a debunked story - is utterly haunting, holding a high level of tension almost throughout the entire runtime. Be prepared.
The Conjuring. 2013. Directed by James Wan. Screenplay by Chad & Carey Hayes.
Starring Vera Farmiga, Patrick Wilson, Lili Taylor, Ron Livingston, Shanley Caswell, Haley McFarland, Joey King, Mackenzie Foy, Kyla Deaver, Shannon Kook, John Brotherton, Sterling Jerins, Marion Guyot, Morganna May, & Amy Tipton. New Line Cinema/The Safran Company/Evergreen Media Group.
Rated 14A. 112 minutes.
People can argue to the contrary all they want: James Wan is a modern horror master. What’s more, he refuses to abandon the genre which made him such a big hit in Hollywood, leading him to the Fast & Furious franchise and the upcoming Aquaman DC film. Just now, the sequel to The Conjuring is in theatre making giant impressions on audiences, many (critics alike) claiming it’s one of the best horrors in a long time. So I hope that once he takes off even more with his DC adaptation that Wan won’t forget from where he came. Because from the revolutionary Saw (yes I called it that; the first one only which is of course the single one he directed) to the underrated Dead Silence and Death Sentence, to the first two Insidious films (love them to death), this is a director who proves, time and again, he understands horror. Not every film is perfect, nor should you expect that. But each one takes an excellent, gouging stab at the genre and more often than not gives us new and terrifying scenes that will go down as classics in the years to come.
The Conjuring didn’t actually impress me first time around. Funny how that works, considering now after watching it a couple more times recently I feel it’s destined to be a classic of the horror genre; it already is, just needs the time to pass for an official label. But some movies work like that. They don’t always get you right away. Sometimes you watch a movie on DVD or VOD, you’re sitting at home and the attention span isn’t perfect. Sometimes you don’t notice everything right off the bat. Either way, after seeing this a couple more times I’ve come to realise how perfectly old school this supernatural haunted house/paranormal story works. Better than that, we’ve got the backdrop of a true story concerning world famous paranormal investigators Ed and Lorraine Warren, as well as one of their big cases from 1971 in Harrisville, Rhode Island where the Perron family came under siege by the terrifying spirit of a dead witch from the 1800s.
Wan does incredible work as director, along with solid performances from the likes of Lili Taylor, Vera Farmiga, Patrick Wilson, and Ron Livingston, all in order to make this into a truly scary movie. So many people complain about the horror genre being stale these days, saying there aren’t any good offerings coming out. Well, drink this one in. It’s up there with the best of the haunted house movies, and certainly one of the greatest in terms of demonic possession. You can’t ask for more than an eerie story, chillingly based on real events, and top notch acting in a horror flick.
What I love about horror based on true stories, or supposedly true, is that I’m a real sceptic. I do indeed wish to believe, as Fox Mulder and his decorative poster both state in yearning. Absolutely. If there were some evidence of life beyond death, it might actually be comforting. Maybe it’d only be more difficult. Nevertheless, I do find myself hoping to come in contact with a ghost. On a couple occasions, I’ve questioned whether I actually did. Alas the scepticism goes on. The Conjuring does go for jump scares in quite a few scenes. What it does best is create this unsettling, dire atmosphere where the line between what is real and what is paranormal/supernatural becomes nearly eradicated.
A huge part of what makes this movie work is the dual look at and parallel between the difference between a family experiencing paranormal events v. a family standing as a physical dike against the mental anguish those other families faced. Though the Perrons find themselves completely torn apart by demonic influence, the Warrens are similarly troubled. They are essentially charged to withholding all the demons, the dead spirits, the poltergeists, whatever. They’ve got a ton of the possessed dolls and objects in their basement under lock and key, constantly threatening their own existence and their own family. So there’s a super interesting dynamic that happens between the two separate families, each tormented in their own right. This also allows for a lot of great acting between the two couples, both sets with their own issues and their different lives, so on. Other screenplays might have made this into a jumbled mess. Instead, Chad and Carey Hayes are able to use every last second of their 112 minutes appropriately, and expanding the characters, the plot with care without ignoring anything.
Lili Taylor is actually one of my first celebrity crushes, if we’re being honest. Being a young man on the furthest Eastern Coast of Canada, I grew up watching Showcase on Channel 34. I can’t remember which movie I’d seen her in first, either Girls Town or I Shot Andy Warhol, but her beauty and her talent struck me. She’s an engaging actor. I find that even without that teenage crush, her acting speaks for itself. Here, even before any of the wild stuff starts happening with her character Carolyn there’s an excellently fun quality to her. That’s what makes the rest of the plot involving her struggle so difficult to endure. In fact, immediately from the first moment we hear and see her there’s an admirable element to Carolyn, endearing, as she and her husband have a brief little laugh while getting out of the car at their new home. Just how she laughs at him, so natural. Great talent to so quickly enjoyable in a performance. This only increases as the film wears on. Her work in the latter portions, as Carolyn succumbs to a demonic possession of intense proportions, Taylor makes the horror far too real for comfort. Likewise, as much as I only enjoy Ron Livingston mostly while watching Office Space, he does well with the character of Roger. He’s the everyman-type American dad, out in the country taking his family into their new home, then dealing with the excessively sinister fallout that nobody ever could have predicted, not in a million year. There’s a complexity to the character. Even if I don’t think he was amazing, Livingston makes the character honest, likeable. Above all, he’s real. Both him and Taylor make the family dynamic play well, in turn selling the whole situation, as it’s them at the eye of the storm. Whereas I say Livingston wasn’t anything extraordinary, without his solid performance as the father and husband of the Perron family the whole personal, human drama would not work, only in a one-sided sense with Taylor doing the heavy lifting.
Both Patrick Wilson and Vera Farmiga are great. The latter has even more work to do, being the more susceptible to the influence of the demons and the supernatural entities. Most of all they do stellar work portraying the Warrens, their relationship particularly one being under different strains than a lot of regular people. They make the Warrens into very genuine human beings. They don’t have any air of the kookish qualities many associate with modern day ghost hunters. These two allow Ed and Lorraine Warren to feel like warm, understanding, caring individuals. They’re not self-serving or narcissistic in their aims of ghost hunting. Of course that’s partly because of the real people and their efforts, but Farmiga and Wilson put their hearts into these performances. It shows in the natural way the Warrens come across. Along with Livingston and Taylor, they’re able to make the personal drama of the horror become so powerful.
Wan’s directing is beyond amazing. Many of his choices are perfect for the horror. On one hand, he knows when to employ the use of jump scares. He understands where they fit and how they ought to be used. On the other hand, Wan is also adept at building tension, making the atmosphere of his films drip with fear. Just as Insidious works nicely using the visuals and its score to create a thick, atmospheric creepiness, The Conjuring is a haunting mix of eerie-looking images and yet another set of fittingly horrifying pieces from Joseph Bishara (Insidious trilogy). All together, these elements work to unsettle the audience at every turn, never settling to be lukewarm scary, but always trying to find the heart of terror.
After letting this settle on me, The Conjuring is one of the best horrors in so many years. There’s never too much of anything, always the correct amount. Wan finds a balance between the jumps and the subtle creeps, as well as manages to find the appropriate performances in his cast to warrant the emotional ties necessary for the horror to hit home. There’s not a lot I can say against the power of this movie. Don’t always judge right on first viewing. Sometimes your opinion won’t change. Now and then, you’ll find you were wrong. And damn, was I ever sleeping on this one. Glad I’ve taken the time to watch it more because I’ve discovered I love it and its fun, classic scares.
Saw. 2004. Directed by James Wan. Screenplay by Leigh Whannell, from a story by Whannell & James Wan.
Starring Leigh Whannell, Cary Elwes, Danny Glover, Ken Leung, Dina Meyer, Mike Butters, Paul Gutrecht, Michael Emerson, Benito Martinez, Monica Potter, and Shawnee Smith. Twisted Pictures. Rated R. 103 minutes.
There are plenty of people who say Saw is so-called “torture porn”. I can most certainly see how, as the series progresses, someone might find the movies a bit heavy on torture, fetishized torture almost. But here? There’s definitely a good heaping portion of horror, no doubt. What we get most of all here, as opposed to the other films afterward (a couple of which I do actually enjoy though), is mystery.
Granted there are certainly problems. I can’t say this is a perfect horror movie. However, I think that what Saw lacks slightly in logic at times, it more than makes up for with the atmosphere and tone James Wan creates in the film’s 103 minutes.
We also can’t ignore how Wan’s film, working off a grimly fun and intense script from Leigh Whannell, spawned an entire flock of copycat movies attempting to capture a glimmer of the success of Saw by focusing heavily on torture horror aspects to drive their stories. Not many, if any, were able to come close to what Wan and Whannell accomplished here, and it’s because – as I mentioned already – the horror is peppered in nicely amongst a primarily dark mystery story. There’s more than enough to satisfy many of the gory horror hounds out there, but Saw pays its dues as a great horror mystery that changed the game in 2004 by not being everything typical we expect from most horror movies. While it’s not perfect, I do think the first film in this series is worth its weight in BLOOD.
Saw begins as two men, Adam Faulkner-Stanheight (screenwriter Leigh Whannell) and Dr. Lawrence Gordon (Cary Elwes), wake up trapped in a small, dark, dirty room together. Each man is held by a thick metal chain to a large pipe in opposite corners of the room. When they get the lights on, a fairly fresh dead body is laying in the middle of the room, gun in hand, brain blows out on the floor. Over the course of their time together in the room, Adam and Dr. Gordon begin to discover a serial killer named Jigsaw wants to… play some games with them. Gordon is a doctor who was recently brought in for questioning, Jigsaw having planted an item of his for the police to find; Adam is a photographer, his own past revealed throughout the film, whom Jigsaw captured. Each of the men have their own demons to face, as the mysterious man named Jigsaw is less a killer and more a judge who places the job of executioner in the individual’s hands: his traps put the victim’s life at their fingertips, begging the question of how far will a person go to live?
Would you walk through Hell to come back to the light?
There are numerous creepy things about this movie, so I’ll start first with the tone. One thing I’ve always enjoyed, which I found set this apart from so many other horrors of the early 2000s, is the atmosphere of Wan’s film. To start, there’s an excellent colour palette to the entire movie. For instance, I love the scenes when we’re seeing the flashbacks to Amanda (Shawnee Smith), the junkie, when she finds herself locked into the bear trap puzzle by Jigsaw; everything has a green hue, this wonderful tint and it puts you in that grimy headspace exactly where Amanda found herself. Works perfectly at some many different points. Even just the interrogation room itself where Detective Tapp (Danny Glover) is talking with Amanda, while Dr. Gordon (Elwes) watches on the other side of the glass, it has this blue filter that makes everything feel very stern, tense.
Then we have the majority of the film where Dr. Gordon and Adam find themselves stuck in that dirty room. That has a more clear look, however, the set itself (not sure if this was an actual location or a set; forgive my ignorance) has this palpably filthy feeling to it, so this plays the part of the filter, through a totally real aesthetic.
I find each of the different segments in Saw have their own aesthetic, even the flashbacks Dr. Gordon has to his family life; the house itself gives things a very dark, vibrant look. Wan could’ve easily gave each and every scene a similar look, instead they all find their own which adds something to the perspectives of the different characters and their respective situations. Even the camerawork itself is different, with Gordon’s scenes being much more steady while Adam had a more handheld, chaotic style feel. Something I love about this movie, which I think not enough people recognize. Much of what I find Wan did with this film did not carry over to many of the others, in the sense they went more for shock and awe while Wan builds up a macabre atmosphere and dark tone which gets under your skin with every passing scene.
MAJOR SPOILER AHEAD: for anyone who hasn’t actually seen the movie, you may want to not read this next bit.
The character of Zep Hindle, played by Michael Emerson (most know him as Ben Linus from Lost), works so perfectly as a red herring. Not that he’s a particularly innocent man, however, he has obviously been manipulated by Jigsaw. In that sense, he’s the killer’s own red herring, put in place with his own hand.
An intensely creepy scene happens as Zep takes Dr. Gordon’s wife Alison (Monica Potter) and daughter Diana (Makenzie Vega) hostage. The tension is thick while Zep puts a gun to Alison’s head, then puts a stethoscope against the daughter’s chest to listen to her heartbeat get faster and faster, thumping hard; I thought this was so disturbing in a way, there’s a sick pleasure Zep gets out of the act. Also, out of so many horror movies I’ve seen that’s a moment I can’t remember seeing too often – maybe it happened in Dr. Giggles or something equally horrible, but I think this little scary moment is a unique bit, albeit brief.
No more spoilers should come after this one.
Another awesome part about Saw is the fact this doesn’t rely on a ton of CGI effects in order to make the scares work. We get the scares, the strange creepiness of it all, then there are great practical special makeup effects that drive home all those feelings. My problem with so many modern horror films, even many which tried to capitalize off the success of Saw, is how the build-up to the scares, the blood, the gore, always gets spoiled by CGI; and the bad stuff, at that. With this film, Wan delivers on all the tension and suspenseful moments by giving the audience worthy practical effects on which they can gorge.
Added to the nice effects work, Charlie Clouser (who I know most from his work with my favourite musician Trent Reznor/Nine Inch Nails) gives everything an even creepier feeling with an at times brutal and other times unsettling score. His work is great and I’m surprised he doesn’t do more horror than he’s already done. Even on the lacklustre sequel The Collection he does some fascinating work with its music. Mostly, I love the unbelievably weird and scary intro music he did for American Horror Story. Here, there are times where the score just pounds relentlessly (think the scene where the detectives meet Jigsaw face-to-mask for the first time), others Clouser gives us that iconic Saw music with the little electronic riff which sort of floats around and haunts you after awhile, and there’s an overall great sound design too filling in the gaps between his individual pieces. Most certainly a huge aspect to the atmosphere in this film is his composing. Can’t get enough of the work he does here.
I think the performances are decent enough to hold all the tension, the suspense, and the horror together as a cohesive and effective unit: I’m always game for Cary Elwes, in anything, even when he’s not totally spot on there’s something interesting about his acting; moreover, surprisingly Leigh Whannell was good as you don’t often expect a screenwriter to also act well.
Above all, the atmosphere Wan is able to bring out, the bloody effects, and the mystery of the script carry this into the realm of a modern classic. There’s no doubt the rest of the Saw series strays into a ton of needless nastiness, regardless if I do like one or two of the half dozen sequels, but Wan uses atmosphere, ton, and the excellent screenplay Whannell wrote in order to make this a PURE horror film.
I can honestly say that, for me, this is a 4.5 out of 5 star film. There is enough solid creepiness that the screenplay feels well written, as well as the fact James Wan’s directing takes this to a higher level. As a team, Wan and Whannell have proved since this film, time and time again, they work wonderfully together and have the same horror movie sensibilities. Their projects usually try to challenge what’s happening in horror at that moment in time, Saw merely being their first big success (I’m a huge fan of the Insidious series), and I think that while many try to pass this off as “torture porn”, it is far more than that every step of the way.
Insidious: Chapter 3. 2014. Directed & Written by Leigh Whannell.
Starring Lin Shaye, Stefanie Scott, Dermot Mulroney, Angus Sampson, Leigh Whannell, Tate Berney, Michael Reid MacKay, Steve Coulter, Hayley Kiyoko, Corbett Tuck, and Tom Fitzpatrick. Blumhouse Productions.
Rated 14A. 97 minutes.
I’m a fan of the two previous Insidious films. Reason being, I think James Wan did a pretty damn good job, together with the script from Leigh Whannell, in conjuring up a tense, suspenseful, and eerie atmosphere. Above all, I love when a horror film can carry that sort of atmosphere and tone throughout its runtime. While they’re not perfect, the first two movies were scary; to me anyways. I dig a good haunted house story and Wan/Whannell provided that with Insidious and Insidious: Chapter 2.
There was no surprise Blumhouse would try and pump out another one. I waited with baited breath to see exactly what might come out of it and I didn’t exactly expect that the third in the trilogy would live up to what the first two created. However, I was slightly surprised. It isn’t great, but Insidious: Chapter 3 has a good bit of that atmosphere and tone from the first two, as well as the fact Lin Shaye returns in another stellar performance as embattled demon seeker Elise Rainier. One thing I think that helps most is the fact Leigh Whannell not only writes this entry in the series, he makes his directorial debut with the third part, which extends much of the creepiness created by himself and Wan throughout the first two movies.
Taking place a long time after Elise Rainier (Lin Shaye) helped a young Josh Lambert with his problems, and just before Josh’s own son Dalton went through the same trouble, Insidious: Chapter 3 begins with Quinn Brenner (Stefanie Scott) going to see Elise Rainier unannounced. Her mother passed away and Quinn wants to contact her. Unfortunately, while trying to help Elise is clearly troubled; she advises Quinn find someone else who does the same thing and get them to help.
At home, Quinn’s single father Sean Brenner (Dermot Mulroney) tries to wrangle everything by himself. Between Quinn and her little brother Alex (Tate Berney), things are hectic.
An aspiring actress, Quinn heads to an audition. She’s looking to get into a good acting school for her post-secondary studies. Instead, out of nowhere, Quinn is hit by a car. This propels her, for the briefest of time, into The Further. After she comes back quickly, out of the darkness and back to reality, Quinn has clearly seen something inexplainable, something in another world. This sets off all the mysterious events which follow.
I thought the writing – especially the characters themselves – was fairly solid. Once again, the family is a centrepiece for all of what unfolds in terms of The Further (see my other reviews for Part 1/Part 2 if for some reason you’ve not watched the previous movies) coming into play. For instance, the teenage characters don’t come off as too forcibly written on Whannell’s part. What I mean is that they’re smart, obviously, but they don’t say these ridiculously eloquent, elaborate things NO highschooler would ever say; I can’t think of great examples off the top of my head, but you know the types, you’ve seen them before. So that’s one thing I thought Whannell did great with because too many screenwriters – especially male screenwriters trying to write female characters –
Some people say Insidious: Chapter 3 is not as scary as the others. Me, I say there’s definitely some nice, creepy stuff happening in this instalment. Even quickly off the bat, Quinn starts seeing a shadowy figure in the distance waving to her, almost calling out for Quinn to follow. First, the figure appears in the catwalk at the theatre where she’s auditioning. Then in the streets, right before she’s hit by a car, the figure – a man – waves at her from far off once more. These little bits help to make a similar dreadful atmosphere as Wan culled in the first two films. Although here it’s different, which isn’t a bad thing. Everything is still eerie, though, Whannell brings his own style to the mix.
I also liked the little quick jump-scare of the man’s face in close-up – when Quinn slips into The Further briefly while surgeons are working away on her after the car accident, the terrifying face flashes quickly. What I love most about this is how it reminds me of the quick flashes of the demon in William Friedkin’s The Exorcist; not sure if this was intentional, but it does bring that shot to my mind specifically. Also, this didn’t make me want to have a heart attack like certain jumps do. It was brief and very effective at the same time.
A huge aspect of why I enjoyed this third film is because we’re getting more out of the character Elise Rainier. Even in the slightest ways – she lays down in bed and says “Goodnight Jack” and hugs tight to what looks like a man’s sweater. So there’s depth to Elise, she isn’t merely a one-note psychic sort fo woman. And I love that, not just simply due to the fact Lin Shaye is a total badass and wonderful actress (even in her slovenly role as Landlady in Kingpin which still haunts me to this very day). Elise is a big part of why I loved both movies; I’m not huge on her sidekicks, Specs (Leigh Whannell) and Tucker (Angus Sampson), but I think her alone is enough to keep anyone interested. Particularly, after we’re treated to the flashbacks showing a young Josh Lambert being plagued by demons in The Further and Elise coming to their aid, doesn’t it make you just want to know everything about her? Then there’s her relationship with Carl (Steve Coulter), who showed up in the last film, which I thought was an excellent inclusion. In this movie, we see a little more of Carl and so his character/story gets a little more broad than before.
Most of all, though, it’s Elise. She is what draws me to the franchise overall, as it’s her who has dealt most closely with demons and The Further, she knows all about it and she has all the senses. I love the scene here where she’s lying in bed, hugging her obviously late husband’s cardigan (we discover later for sure he committed suicide only a year before), and then out of nowhere she feels something, a presence, she scrambles for the light – nothing’s there, yet the air feels terrifying. Good stuff showing how sensitive Elise is to the other side opposite that of the living.
The overall aesthetic of Insidious as a franchise is something which keeps me interested. It’s the whole reason – aside from Lin Shaye – I ever bothered to go see this one.
I’m a huge fan of the score in these films. I’d not – to my shame – checked on who was the composer for the music in either of the films. So doing this review I wanted to see if it was the same person. Naturally, it was: Joseph Bishara. The reason I had to check is because, while there are plenty of similarities, Bishara does bring us some new work in the score for Chapter 3. A lot of those heavy, dreaded string bursts are still present, however, he also gives us some bright and beautiful sounding stuff such as in a few scenes with Elise. Either way, he is one part of why that finely tuned aesthetic from the series keeps going.
While the look in this film was handled by a different cinematographer, Brian Pearson, I do think he is up to snuff with how he crafts the scenes visually. Just to note, Pearson did some work as D.P on the fairly excellent series Masters of Horror, as well as a recent film I’m a big fan of – the savage and excellent American Mary. He does good stuff keeping many scenes draped in darkness, as the previous films looked. So even though it isn’t exactly the same carbon copy of style, there is a ton of similar atmosphere built up through how Pearson shoots each scene in a tone down, darkened manner.
Furthermore, the art director Jason Garner worked on the previous Chapter 2, so I think his clearly excellent work there extended to this film. For those who aren’t big on the job descriptions for film work, an art director helps to create the film’s vision in terms of locations, sets, and that in turn brings about a visual aesthetic for the film. The houses and everything which are new in this movie, they really fit in with the entire Insidious franchise world. If you watched these all simultaneously, I think they’d match up unbelievably well.
In regards to the plot, I like the character of Quinn and how she ended up in contact with The Further. Plus it plays into the whole subplot of her mother’s death, trying to reach her in the afterlife and such. It’s a great way to have spun things off from the central story of the first two Insidious films. A lot of these spin-offs can end up really spinning out of control, or just being nonsensical additions to a franchise simply for the sake of raking in money. With this movie, I don’t see it being that way. Sure – profit is the major concern of studios. However, I think especially with Leigh Whannell writing this instead of it being farmed out to writers/directors not already a part of the franchise, Insidious: Chapter 3 is able to hold up in quality near to its predecessors. It’s not as good, but I feel as if it’s pretty damn close.
Also thought it was great the way Whannell setup The Bride in Black as being an entity who actively wanted to kill Elise. This sort of explains their history, as well as why the Bride purposely got into Josh and then strangled Elise at the end of the first Insidious. Not as if there was a massive need to explain anything in detail there, I just find this movie’s script capitalized and added more depth to the other films.
All in all, I think this was a 3.5 out of 5 star film. It wasn’t perfect. My biggest complaint about Insidious: Chapter 3 is that there’s more unfunny comedy with Specs/Tucker – something I didn’t like about the others but here it’s even more unbearable with such forced comedy on behalf of the Tucker character. Very lame. Then, I also thought there was something missing about the possession angle involving Quinn. While I found Josh Lambert’s possession in the others excellent, plus Patrick Wilson played him well, I didn’t like the way they did Quinn’s possessed state. It was too similar to the rip-offs of Japanese horror in American movies. I liked lots of the stuff involving Josh being possessed, it just didn’t seem to carry over here.
The finale of the film was decent. Honestly, though, I prefer the first half to three-quarters of the film because I like the build up, the character development and a view into the already established character of Elise Rainier (Lin Shaye). Mostly the last quarter of the movie I found wasn’t as effective as the scariness of the previous two Insidious entries. It isn’t bad, just doesn’t pack the punch you’d expect. If there was a stronger final 25 minutes I’d be more impressed.
Still, this is not bad at all. There’s room for improvement, yet I think Leigh Whannell did a decent enough job keeping up with the other films to make this a pretty good trilogy. I recommend seeing this, though, I’ll still always enjoy the first two more.
My personal favourite is Insidious: Chapter 2. How about you? Let me know in the comments.
Insidious: Chapter 2. 2013. Directed by James Wan. Screenplay by Leigh Whannell.
Starring Patrick Wilson, Rose Byrne, Ty Simpkins, Lin Shaye, Barbara Hershey, Steve Coulter, Leigh Whannell, Angus Sampson, and Tom Fitzpatrick. Blumhouse Productions.
Rated 14A. 106 minutes.
Being a fan of the first film, I was excited to see what James Wan and Leigh Whannell had in store for us. I really think they make a good team. Maybe not a perfect team, but it’d be hard for me to say that there ever was a perfect writer-director team. Every combination, every artist as individual has their faults.
Regardless, Wan and Whannell obviously have very similar sensibilities. I find they know what horror is, or should be, and though there are flaws this series has a lot of the great classic style horror I grew so fond of as a teenager.
What made the first Insidious so interesting for me was that Wan created this incredible atmosphere throughout, which kept on from beginning to end. There were a couple too many jump-scare moments, but not so much it ruined the film.
Personally, I think that Insidious: Chapter 2 capitalizes on its faults from the first and turns those into something even better. From atmosphere, to performances (Patrick Wilson is fantastic here), to a bit better of a script from Whannell, I believe this sequel was able to step it up a notch not only in creepiness, in quality, as well.
Beginning directly after the events of the first, Insidious: Chapter 2 starts as Renai Lambert (Rose Byrne) is being questioned concerning the supernatural activity that supposedly happened in the house, which lead to the death of Elise Rainier (Lin Shaye). The police have to investigate, so Renai and her husband Josh (Patrick Wilson) must take their kids to his mother Lorraine’s (Barbara Hershey) house.
Unfortunately, the ghostly presence continues to haunt Renai – a woman in white appears and terrorizes her. At the same time, Josh is acting strangely; Renai can’t look at him the same, their son Dalton (Ty Simpkins) hears his dad talking to someone while he appears to be alone. Even Lorraine starts to see the woman in white. Josh continues his weird behaviour, beginning to almost physically deteriorate.
Soon, Lorraine goes back to Specs (Leigh Whannell) and Tucker (Angus Sampson) to try and figure out once and for all what can be done to help the Lamberts get away from the evil presence plaguing Josh. And what follows proves to be even more difficult than bringing Dalton back from The Further.
So I’ll begin with the very few things I thought were lacking/did not work in the film.
That “Hunter Ninja Bear” moment is an instance of the dumb comedy between the two ghost hunting characters Specs (Whannell) and Tucker (Sampson) that I thought hindered the first film. Luckily, this one went for much less of that comedy; there are still faint hints of it at times, but it’s less prevalent than in the first. This helps. However, it’s moments like these that make me roll my eyes. Some may find it funny, I find it tedious. Especially in a film that culls together such an pervading and perpetual atmosphere of dread/creepiness, I feel like this comedy is so far out of place that it’s not even sensible.
I get that some horror is infused with comedy, often very dark comedy, this is just not one of those movies, and I think Leigh Whannell basically jammed these bits in like puzzle pieces that don’t fit; it shows how awkward these scenes are when you look at the movie as a whole. In the moment they’re sort of laugh to yourself funny (for others – not me), but when you turn around you think, “Why were these bits of comedy stuck in here?” Just makes little sense to me. I guess that’s why I’m not a famous Hollywood writer/director.
I have long thought Patrick Wilson is a fantastically talented fella. He has that handsome leading man type thing going on, and at the same time he has this weird side to him. The two performances which woke me up to his rising talent: his role as creep photographer Jeff Kohlver opposite Ellen Page in Hard Candy, and the wonderfully pained/tender character Brad Adamson he portrayed in Little Children.
So I think, even more so than the first movie, Wilson does a phenomenal job here. To see him wither away in front of our eyes, in front of his family, is really unsettling at times. Especially once the dark force inside him starts to actual take him apart physically – a nasty, effective scene happens when Josh Lambert starts to pull teeth out of his own face, literally falling to pieces. Not only did the make-up work well in making him look caved/sunken in, Wilson did well at showing Josh fray around the edges; you could see his personality change as the Bride in Black took him over. Great, great stuff.
I thought Lindsay Seim was awesome as the young Elise. Naturally, they used Lin Shaye’s voice and dubbed it over, but Seim still had the feel of Elise in those brief flashback scenes. Excellent choice in casting.
Rose Byrne did a good job, but I also think Barbara Hershey deserves a shoutout. She is such a wonderful actress, with the small part of Josh’s mother she does get a bit of screen time. There were some nice moments with Hershey, as well as a few with her and Steve Coulter, who plays Elise’s old friend Carl.
Again, as was the case with the first film, I love how James Wan builds the atmosphere. There’s a very distinct feeling throughout the entire movie. Also, when people are in The Further, all the dead wandering around in the dark, there’s this other highly distinct feeling. Wan makes us feel that shift between the two worlds, which in turn makes it all the more immersive.
I really enjoy how Whannell chose to explore the Bride in Black character more, then we are revealed the utterly disturbed world of Parker Crane. Worst is Parker’s Mother (Danielle Bisutti) – terrifying! When Specs and Tucker, gang in tow, head to Parker’s old house and they make all those macabre discoveries, I thought that section worked so well. The whole backstory to Parker and his mother is just amazingly ghastly. I loved every second of it!
In particular, there’s a great scene with the young Lorraine (played by Jocelin Donahue from Ti West’s throwback masterpiece The House of The Devil) where she brings her then young son Josh to the hospital where she works. There, Parker Crane (Tom Fitzpatrick) grabs ahold of Josh, howling at him in a terrible voice, frightening the poor boy. MAN! What a scene. I thought it was perfect. There’s a little jump-scare, yet I still found it truly effective. Because you keep reeling moments afterwards. Excellent, well-executed horror.
Sticking to the horror and subtracting some of the outright comedy between Specs and Tucker, I really think Leigh Whannell wrote a great script. Of course, James Wan pulled off the directing near perfectly. However, I still think that there should have been no comedy, whatsoever. Insidious is truly terrifying stuff, I honestly feel that comedy is out of place in a film that has such a pitch-black atmosphere and tone. Mainly it’s the style of comedy – very dumb stuff, I found. If maybe it worked on a darker level, the comedy would have went well with the horror. It doesn’t, though. That being said, I can’t knock the script that much. It fleshes out the characters Whannell introduced with Insidious, explains some of the previously unexplained events of the first film, and there’s the backstory of the Bride in Black, serial killer Parker Crane, which I found perfectly chilling.
This is a slight head above the first, so I’m giving it a 4.5 out of 5 stars. It’s near a perfect horror, for me anyways. I’ve seen it now probably 5-6 times since it first came out. I’d not seen the first in theatre, because I’m not actually a fan of being in the theatre (a cinephile with high anxiety isn’t good at times – I force myself to go for the stuff I really want to see), but I did go see this on the big screen. Good times, I must say. Everything here works, almost to perfection, from atmosphere and tone, to performances, developed characters, and the sound design is much better than the first (not so many purposefully jumpy string additions).
If you’ve not seen it, go watch NOW, and I hope you get the shit frightened out of you.
Insidious. 2010. Directed by James Wan. Screenplay by Leigh Whannell. Starring Rose Byrne, Patrick Wilson, Ty Simpkins, Lin Shaye, Leigh Whannell, Angus Sampson, and Barbara Hershey. Rated 14A. 103 minutes. Drama/Horror/Mystery.
4 out of 5 stars
There aren’t many horror movies that feel like the classics these days, except for a few. Even some of those few are mainly retro, in that they try to cultivate that type of throwback atmosphere purposefully.
The reason why Insidious is one of the true classic-feeling horrors as of late is because it’s genuinely scary – between atmosphere, tone, and a few creepy jump scares this is the real deal.
All the same, there are a couple small flaws, but none so flawed that they can ultimately take away from the greatness of Insidious.
The film tells us the story of Josh and Renai Lambert (Patrick Wilson & Rose Byrne) who, along with their new baby, their two sons Dalton (Ty Simpkins) and Foster (Andrew Astory), move into a new house. It seems like a dream at first, as they begin to unpack and settle into this beautiful, picturesque type home. Shortly after the move, young Dalton is in the attic and falls off a ladder, hitting his head; though he doesn’t tell his parents about the last part. The next day, Josh goes up to wake his still sleeping son, except Dalton won’t wake up. He goes into a fugue, unconscious state, which the doctors refuse to call a coma, and can’t actually describe. Renai then begins to experience strange things – first there are unsettling noises, voices speaking in whispers over the baby monitor, then later she actually witnesses sinister apparitions in the night throughout the house. Josh doesn’t necessarily understand what his wife is going through, however, he gladly believes her; even so far as moving to a new house once the terror becomes too much for Renai.
Only after the second move, in a completely different house, Renai once again experiences the strange apparitions – a little boy appears in the house, changes a vinyl on the record player, and the runs away. She follows him, but then he disappears. Josh tries to help Renai, but doesn’t know how. In comes Lorraine Lambert (Barbara Hershey), Josh’s mother, who describes a frightening dream she had about Dalton involving a creepy dark demon. She also suggests there is someone she knows who can help. Lorraine brings Elisa Rainier (Lin Shaye) over, along with her sidekicks Specs (Leigh Whannell) and Tucker (Angus Sampson) – these three claim to be able to determine if spiritual/supernatural/otherwise-inclined entities are in the house.
Needless to say, things get… different.
I’m going to start with the, very few, things I found flawed about Insidious.
Though some of the jump scares were actually awesome, I think James Wan relied too heavily on the concept to push the scary factor of this film. Insidious does not need that jumpy aspect to scare anyone. Sure, there are the tough guys who always say they’re desensitized – and that’s fine – but I’ve seen over 4,000 films, a good chunk of those being horror, and I still get creeped out. I don’t mean that I’m crying or that I can’t sleep later that night or I have to keep the lights on and my teeth are chattering and I can’t handle it – I just mean that certain imagery, ideas, dialogue, whatever it might be, still creeps me out. And the fact is Insidious has enough of that without needing to make me jump with quick cuts, people behind others suddenly.
I really liked the score, and at times it was perfect, but often it played into that jump scare tactic. The title card at the beginning and end of the movie is awesome with the sudden strings, I love that. I don’t think some of the loud and startling string/instrumental stuff throughout the score served it well. Again, the movie has atmosphere and tone enough to creep us out. If Wan kept a couple jumps, cut a good few out, the movie would be even better for me; a couple of those jump scares only worked on my fat heart, jumpstarting it, and not on my fears, my emotions.
What really bothered me about Insidious are the duo of Specs and Tucker. Funny enough, as most know, Leigh Whannell who plays Specs is the writer of the film, and usually I find he’s a pretty good writer at that. However, I feel like the comedic bits in Insidious – the banter between Specs and Tucker as the Odd Couple Ghost Hunters, back and forth vying to be the top investigator in their field, the techie versus the artist/writer – really did no justice to the otherwise dark, ominous atmosphere and tone Wan cultivated throughout the rest of the film. Sure, there were funny parts between Specs and Tucker; Whannell and Sampson work well together as a little team. I just don’t think the comedy, dry though it is, fits in with the rest of the movie. I mean, there are plenty horrors that are either horror-comedies or they have that dark comedy aspect which compliments the horror, and some of those work great. I’m not against horror and comedy mixing. My problem is that the rest of the movie is so dark and high on the creepscale, I just think it would’ve been best to keep the small bits between Specs and Tucker even smaller; they were already only sparse, but there could’ve easily been less. The characters work well in the context if they were simply just playing two dudes into the paranormal, helping Elise (Lin Shaye). I really loved how Specs would draw things for Elise, it added an extra creepy quality to their whole process. I feel Whannell did not do the script justice by including them in the way that he did, though, it didn’t detract enough to ruin anything.
The script, other than what I mentioned, is solid.
What makes the script even better are the actors playing it out, along with Wan’s excellent direction.
I think having Patrick Wilson play the part of Josh Lambert adds a lot of charisma and charm to the role, which needs it, because the character is a complex one at times. Especially nearing the end, and leading into the film’s sequel. But here, he does a great job of being that sort of skeptical father at first when his wife is claiming the strange happenings are going on, and then coming around to see the truth: a scene where Josh is in Dalton’s room after Elise has explained where the boy is, out in The Further, capable of astral projection, and he discovers drawings Dalton did which all but confirm Elise’s “diagnosis, Wilson does some incredible acting and it isn’t often you see that calibre performance when it comes to haunted house movies.
Rose Byrne is great as Renai Lambert. I felt truly bad for her right from the get-go, even worse once that one creepy ghost-like presence appeared in her bedroom, and the way she sort of unravelled at times was spot on. It was a great performance. Particularly I loved the last scene, as she goes towards Elise in the chair, and as Josh, unseen, approaches behind Renai, she turns, gasping. It put the nail in the coffin. Excellent actress.
Of course you can’t have Insidious without Lin Shaye. She is tremendous here as Elise Rainier. The facial expressions, her quaint charm and friendly manner, the emotion and energy she brings – all perfect. One of my favourite moments, still, is early when she goes into Dalton’s room and sees the demon up at the corner of the ceiling, and Specs draws out what Elise sees – the way she whispers to him, you can just hear what she says, and then coupled with the actual drawing, all made me shiver.
I can’t not mention Barbara Hershey. She isn’t in this a great deal, only a handful of scenes, but she is solid as Josh’s mother, and I’ve always loved her acting. I bring her up specifically because I love her film The Entity, and I find that Whannell most certainly was influenced by it in his writing the script. Particularly it’s the technology and the presence of the team of “experts” which reminds me of The Entity. Not like it’s ripping anything off, but I definitely think casting Hershey had something to do with that film’s influence on Whannell and perhaps Wan as well. I’m glad, regardless, because I dig Hershey, everything from the aforementioned supernatural horror to The Stranger Beside Me to The Last Temptation of Christ and certainly Martin Scorsese’s Boxcar Bertha. I only hope her involvement has something to do with The Entity because it means Whannell, or Wan, whoever, is even more awesome than I already thought.
Easily this is a 4 out of 5 star film. Insidious could’ve been near perfect, if only James Wan hadn’t opted to use jump scares so often, along with a healthy dose of high and heavy strings, and the Specs-Tucker duo wasn’t so comedically prominent. There are great, scary moments here without those bells and whistles. The atmosphere is dark and deep, I really found it involving and tense. A good horror has tension and suspense in spades, and Insidious has got that, if anything. You can argue against that, but I won’t believe it. The tone is set with the great atmosphere Wan sets up, from the actual camerawork to the colours of the film. It all works together.
If you’ve yet to see it, do it now. The sequel is also great, and I love it just as much as this one, maybe even a little more.