Good analysis of a franchise that may be running on fumes. #Insidious
The Insidious films are not what they used to be. The editor knew as much: The title card pops up unceremoniously in bold cartoon lettering, a mere impression of the bombastic opening frames of the earliest entries in the series, and an unflattering one at that.
The studio knew as well: Originally slated for an October 2017 release, Blumhouse pushed The Last Key back to January, the annual dumping ground for movies whose distributors don’t believe in them, and replaced it with Happy Death Day.
Continuing the trend of going backwards in time, we open with a fifteen-minute detour into Elise’s childhood, and already the film wears its flaws on its sleeve.
I have complained in previous articles about the unfortunate results of this particular franchise’s runaway success. The first two films are among the best American-made horror flicks of the 2000s, and they are not my cup of…
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