While it’s finding ways to tie real-world horrors into this The Further business, the pic makes good use of Elise’s childhood, both as a reason for us to care about overfamiliar haunted-house stuff and as a means to introduce new blood: those aforementioned nieces (Caitlin Gerard and Spencer Locke), who may be positioned to pick up the ghost-hunting torch should the need arise. Sure, it comes in the middle of one of those “there’s no way anyone would do something this stupid” sequences that fright flicks rely on. (Which isn’t to say it doesn’t make you jump on occasion.) In only one gag is the film’s obvious manipulation of the viewer structured in a clever and elegant way. While the franchise’s technical overkill may have mellowed over time (sound effects are far less oppressive here), the delivery of the “boo!”s remains on the cheap and arbitrary side. Their best line is when, introducing themselves to a client, Tucker points at Elise and says, “She’s psychic we’re sidekick.”Īs has been the case since the first film, this one centers on shock cuts and sudden appearances of figures in the shadows.
These dudes, to be honest, aren’t good for much: They’re armed with high-tech gizmos but far too few flashlights they flirt in a more-icky-than-cute way with Elise’s young nieces and most important, with only Whannell’s rudimentary dialogue to go on, they’re pretty limp in the comic relief department. Understanding that whatever she unleashed as a child is still attacking the living, Elise heads to New Mexico with her eager young employees Tucker (Angus Sampson, of Mad Max: Fury Road) and Specs (Leigh Whannell, screenwriter of all four Insidious pics). Trouble is, it’s Elise’s childhood home, where the furniture has for some reason been left as-is (down to the blanket-fort built on the bunk beds) for the half-century or so since she fled home. His hands have keys where the fingertips should be, so let’s call him The Man With the Keys.īack in this century, Elise gets a call from a stranger whose house has a ghost infestation.
Unwittingly, she helps an evil being enter our dimension. When Elise won’t deny that she’s seeing things, he locks her in the basement, where a hidden portal leads to very scary things. She’s seeing ghosts even at this age, and while her mother accepts the reality of her daughter’s spiritual gift, Dad is prepared to beat it out of her. The Last Key, which mostly occurs shortly before the events in the first film, begins with an extended flashback: We meet Elise as a child, being raised in 1950s New Mexico by a stern prison-guard father. A workmanlike but fan-pleasing picture, it may well earn enough to make producers reconsider that whole “Last” thing - not that such promises are often kept in the horror biz.
Insidious the last key movie review full#
Adam Robitel’s Insidious: The Last Key, a sequel to the prequel to the series’ first two outings, brings the saga full circle in a way that should, true to the title, conclude the adventures of Lin Shaye’s ghost-whispering character Elise Rainier.
Before we’re all done marveling at the fact that 2017’s three biggest hits were led by female actresses, here’s a more modest but noteworthy fact: 2018 will begin with the fourth installment of a hit franchise whose hero is not just a woman, but a septuagenarian who takes on boogeymen the youngsters can’t face.
0 kommentar(er)
