Shadows and the dark, the purest representation of mystery, the unknown manifested. Director James Wan is at his best when playing with those simple elements. His sequel to the mostly creepy and mysterious Insidious, simply titled Insidious: Chapter 2, works best when characters must confront the dark. "In my line of work, things tend to happen when it gets dark," says a young Elise Rainier (Lindsay Seim), a medium in Wan's film. She seems to be channeling her director here.
Wan's horror comes from the psychological baggage of his characters. He is more interested in nightmares than in ghosts. "I've seen things with my own eyes that most people have to go to sleep to conjure up," says Rainier's former assistant Carl (Steve Coulter). It's the unconscious that brews up spirits for Wan, hence his interest in childhood traumas and how they serve to encumber our lives and ultimately make them terrifying. Transporting childhood fears to adulthood is key to Wan’s talent, even if he relies on tropes like musical stings, swish pans, and the anticipation of that frightful thing hiding in the dark. Beyond these devices, the Insidious films work best when they play with the edges of threat and mystery. Wan also deserves extra credit for keeping the frights pure and not resorting to gore, a cruel gimmick that hurts the audience more than it thrills them.
The sequel opens with a scene hinted at in the first film: like his son Dalton (Ty Simpkins), our hero dad Josh Lambert (Patrick Wilson) was haunted as a child by a malicious spirit. Enter the younger version of Elise, who lost her life in the supernatural struggle to rescue Dalton in the first film. To find the source of the spirit, young Elise hypnotizes young Josh (Garrett Ryan), and he guides her to his bedroom closet. When she opens the door and pushes aside some clothes to reveal nothing but pitch black, she tells the darkness: "Who are you, and what do you want?"
Those are the film's best moments: when it confronts the sublime via literal darkness and mystery. Wan pushes these moments of dread from the unknown in some scenes to the point of comedy, mostly via Elise's surviving assistants, Specs (Leigh Whannell) and Tucker (Angus Sampson). "You can't be in here," one spirit, a little girl in pigtails, tells them. "If she sees you, she'll make me kill you." The threat of the unknown from forbidden trespass is encapsulated in those lines. The fact that Specs and Tucker take this warning very seriously verges on humorous because it satisfies that urge to tell the characters on screen to "get out" before anyone can yell their advice at the screen.
If there is fault in Insidious: Chapter 2, it comes in the form of further rationalizing this world Wan has created with writer/actor Whannell. The better horror movies plummet further into the darkness of mystery rather than trying to shed light on the motivations of evil spirits. This second chapter offers further explanation of the spirit world journey that closed the first Insidious. Though some may find relief in this, over-explanation also saps the film of its creepy energy, which Wan works so shrewdly to draw up.
Even though he leans on some cinematic horror tropes, as noted earlier, the film's eerie atmosphere has a signature stylistic flourish. He uses low angles to present his looming haunted houses in shadowy darkness, but Wan serves up a subtle new ambiance for the genre with the help of production designer Jennifer Spence. Bright patches of color here and there liven up the sets, especially a reliance on red accents, be it on doors, stained glass or parts of clothing. But the rest of his world features darker shades of color, often painted thick on nice solid, creaky wood. There is also a whimsy to his sets featuring clouds of fog billowing from out of nowhere and slow fade outs and fades to black, lending a surreal atmosphere to the happenings in Insidious: Chapter 2. There is nothing like the irrational to pull the rug out of reality and unnerve the audience, and the film is at its best lingering and peering at that edge.
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For a few years in the '60s and '70s producer Gerry Anderson made "supermarionation" all the rage in the world of British children's television. His stop-motion puppets starred in a number of sci-fi adventure series most memorably Thunderbirds which followed the exploits of International Rescue -- a team comprised of ex-astronaut Jeff Tracy and his sons. Based out of their secret fortress on Treasure Island the Tracys (aided by lovely secret agent Lady Penelope) used their amazing rocket-powered vehicles to prevent disasters and save lives around the world. Now 40 years after Thunderbirds' TV debut Star Trek vet Jonathan Frakes has brought Anderson's characters to life on the big screen. Front and center is youngest son Alan Tracy (Brady Corbet) who dreams of the day he too can pilot one of his family's fab ships and lead missions. But first he has to prove himself to his father Jeff (Bill Paxton). That opportunity comes sooner than either expects when mysterious villain The Hood (Ben Kingsley) strands Jeff and the older Tracy boys in space and attacks Treasure Island. With only his friends Tintin (Vanessa Anne Hudgens) and Fermat (Soren Fulton) to help him Alan has to grow up quickly if he wants to save his family ... and the world!
It would be easy to mock several of the performances in Thunderbirds-- to chide Paxton for his earnest seriousness as Tracy patriarch Jeff to dismiss Corbet's angst-tinged eagerness as Alan to roll your eyes at Kingsley's over-the-top mystical fierceness as The Hood and to wince at Fulton and Anthony Edwards' nerdy stuttering as science whizzes Fermat and his dad Brains. But actors are only as good as their script and the one Frakes has given his cast (courtesy of screenwriters William Osborne and Michael McCullers) is weak and clichéd at best filled with after-school-special-worthy lessons for Alan to learn. "You can't save everyone " Jeff tells his son somberly and even Tintin has a moral for her crush when he's feeling selfish and indulging in self-pity: "This is hard on all of us Alan." Talk about insight! What makes it even more frustrating is knowing that the actors are capable of much more even the kids: Both Corbet and Hudgens did well with supporting roles in Thirteen. Thunderbirds' only real bright spot is Sophia Myles as Lady Penelope. A cross between Reese Witherspoon's Elle in Legally Blonde and Jennifer Garner's Sydney on Alias Myles' Lady P doesn't let her pink couture wardrobe prevent her from coolly kicking ass when the situation demands it. Attended by her droll driver/man-of-all-trades Parker (Ron Cook) Lady Penelope is a fresh feisty heroine with all of the film's best lines -- and the coolest car to boot.
Frakes cut his directorial teeth on episodes of Star Trek: The Next Generation and his first feature film was Star Trek: First Contact so he would seem like a natural choice to bring a cult sci-fi TV show to the big screen. Unfortunately while he does an admirable job re-creating (and improving on) the original Thunderbirds' mod sets cool ships and special effects (which are fine if a bit more TV-sized than summer blockbustery) Frakes can't seem to decide who his audience is. If he was aiming at grown-ups who remember the show fondly from their own childhood he should have embraced the source material's campiness (à la Starsky and Hutch) rather than restricting it to the Tracys' plastic Barbie-like furniture and Lady P's bouffant hairdo. If on the other hand Frakes was hoping to entertain today's kids he should have really reinvented the show for a 21st-century world (à la Stephen Hopkins'1998 Lost in Space) rather than clinging to the '60s references As it is he's stuck somewhere in the middle leaving adults bored during the kids-on-an-adventure bits and children mystified by the handful of jokes aimed at their parents.