THE STORY – Gemma, a young mother raising her daughter in the house she grew up in, discovers she can travel into The Further, where she possesses an ability to bring what lives there back to the real world.
THE CAST – Amelia Eve, Brandon Perea, Maisie Richardson-Sellers, Island Austin, Sam Spruell & Lin Shaye
THE TEAM – Jacob Chase (Director/Writer)
THE RUNNING TIME – 106 Minutes
Sometimes, you almost have to respect horror franchises that have managed to survive for so long. Even when you can tell it’s getting long in the tooth, there comes a certain threshold when the continual output can become almost admirable. In an age when trilogies are so dominant with theatrical storytelling, and shortened seasons are pervasive on television, this genre is one that will keep throwing out any ideas to extend its established universe. Diminishing returns are inevitable, but longevity and perseverance are commendable qualities as well. Still, quality is an aspect that is appreciated too. That is an aspect that has been inconsistent, to say the least, with the “Insidious” films. Now on their sixth entry, “Out of the Further” looks to branch off to tell the story of a new family dealing with familiar torment. It manages to capture an engaging atmosphere before succumbing to tedious storytelling choices by the end.
We have now officially moved beyond the Lambert clan, as the likes of Patrick Wilson, Rose Byrne and Ty Simpkins are nowhere to be found. Instead, Gemma (Amelia Eve) is the one who finds herself being tormented by demonic figures. Stemming from a traumatic childhood that saw her mentally ill mother commit suicide, Gemma is now trying to sustain a normal lifestyle with her daughter Maya (Island Austin) and her cop boyfriend (Brandon Perea). However, Gemma is haunted by ghastly visions, an array of vile creatures who stalk her dreams. She comes to find out that these apparitions are more than just regular nightmares. They are connected to a dark entity that has been stalking her because she possesses a special gift: the ability to cross over into a spiritual purgatory where spirits lie, known as The Further. An evil force means to prey on her psyche so that he and his malicious followers may cross over into the human realm and wreak untold havoc. For Gemma, the fight is not only to keep these malevolent forces at bay but also to save her loved ones from the sinister fate that awaits to trap them all.
Jacob Chase assumes the role of the main creative force here, and he does manage to demonstrate a capable understanding of building tension within the film’s first act. There’s perhaps an over-reliance on the long stretches of silence that are meant to be interrupted by a loud jump scare, but he and cinematographer David Garbett utilize the shadowy frame that is scarcely illuminated by stark flashlights. The film also captures a deliciously jovial tone in some set pieces that verge on the comical. Some of that feels intentional, like a trio of creepy neighbors whose aesthetics are pushed so far to the extreme that it seems knowingly comical. Another set piece involving a rotted mouth at a dentist’s office has the right amount of squeamish visuals, relishing in showcasing such a grotesque display. It’s a similar spirit in an endless fort maze that feels like a twisted exaggeration with silent figures moving about. These are the instances that show some impressive filmmaking, a far cry from the very cheap production that was apparent in the first film.
However, the visual accomplishments can only carry this project so far. Chase’s screenplay immediately feels the need to elevate the material, something the first chapter wasn’t that invested in, and connects the events to the shallow well of exploring trauma. It’s not a particularly engrossing thematic commentary, but at least it is some sort of foundation. As the film progresses, though, the scares become far less impactful when the antagonist’s plan just doesn’t seem particularly engaging. It seems odd for a spirit wanting to cross over into the human realm when terrorizing victims from beyond the grave has proven effective so far, and it just invites a host of illogical decisions that chip away at the narrative. The other ghosts don’t appear all that frightening and are more like advertisements for characters at Halloween Horror Nights at Universal Studios. Even Gemma’s ability to pull entities out from The Further is a borrowed trick from the Freddy Krueger movies that becomes laughably powerful by the finale. With weak characters and a lethargic climax, the story leaves a lot to be desired.
Eve is a competent anchor for what is asked of her, though the character’s vague outline lacks definition that would make her performance more impactful. She sells terror quite well, but the repetition soon grows tiresome, and the emotional catharsis at the end is too familiar for her to truly overcome. She still manages to craft a decent portrayal that just isn’t that memorable. It’s a statement that applies to most of the cast, as Austin doesn’t make a great impression either, though she is able to convey a sense of effective peril in the third act. Perea has given charming, charismatic performances, but he is asked to do nothing but support the plot, and that natural charm is completely wasted. I’m sure some will appreciate series stalwart Lin Shaye returning. Still, she too is given nothing more than a collection of brief scenes meant to deliver some bland exposition while casually walking through the frame. Sometimes actors can rise above the material they are given, but it would be difficult for even the most accomplished of performers to mine anything of note from these hollow characterizations.
If one has already been invested in this franchise, then perhaps there is enough within “Insidious: Out of the Further” to warrant its inclusion. Admittedly, the filmmaking includes impressive sequences that demonstrate a clear understanding of how to build dread creatively. Yet, those moments become more isolated as events progress. What starts as an intriguing showcase of horror imagery quickly devolves into a pedestrian exercise, underlined by a mundane villain and a deflating emotional throughline. Even the performances are merely serviceable, as they operate within a narrative that becomes increasingly banal. This franchise may still produce some thrills, but at six films in, pure perseverance may be the only thing left to admire in its future.
