![]() There is little room for anything extraordinary in Insidious: The Red Door: the script has no vibrant characters for an actor’s inspired performance to breathe life into, the filmmaking rehashes old tropes and tricks that horror fans have seen before, and the story packs no surprises in a franchise that has told this kind of story before. The result is we do not get much character interaction between these two leads, and whatever ambitions the script had in developing a coherent theme falls apart. However, to the extent that this theme is explored, it is stymied by the plot, which separates the father and the son throughout most of the film. Thematically, Insidious: The Red Door is trying to be about fathers and sons what it’s trying to say about fathers and sons is a different, more difficult-to-answer question. At 107 minutes, Insidious: The Red Door feels too long with long stretches of Wilson and Simpkins’s faces looking concerned, interrupted by brief barrages of noise. There are a few creepy images that might get your heart over 80 bpm, but the vast majority of the film’s “horror” fails to inspire anything beyond a momentary jolt. ![]() The scares, such as they are, amount to cheap jump scares and grisly images of overly made-up monsters yelling at the camera.
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