It’s a bit like a reel for Wilson, a “look what I can do” showcase, which is what keeps the film from faltering. You can see Wilson’s influences, from The Sixth Sense (a frat ghost caked in vomit is reminiscent of Mischa Barton’s jump scare in Shyamalan’s film) to Kiyoshi Kurosawa (ghosts slowly creeping their way toward the camera in the background are reminiscent of Pulse, Cure, and Retribution). It's a refreshing change of pace for a franchise installment, but also a choice that is alienating to those who expect a rehash of the same old.

What’s admirable about Wilson’s directorial debut is that he doesn’t try to ape Wan’s vision. Once James Wan left the series after the second film, both Leigh Whannell and Adam Robitel sat in the director’s chair and tried to replicate his magic, to diminishing returns, so when it was announced that Patrick Wilson, star of the first two films, was returning to the franchise to direct his own installment, Insidious: The Red Door, you would have been correct to be wary. The first Insidious film was a perfect PG-13 horror movie, a clever mash-up of creepy and playful that felt like a thrill ride. I often cite my favorite cinematic experience as seeing the first film back in 2010 – the theater was packed, and the screams were excited and often followed by the joyful cackling of laughter. The shrieking of string instruments, the bright red title card flashing like a light bulb about to burn out: It’s time for another Insidious film.

We are what we are 2010 review