Insidious Film Review (2011)

1 hr. 40 mins.

Starring: Patrick Wilson, Ty Simpkins, Rose Byrne, Barbara Hershey, Lin Shaye, Angus Sampson, Leigh Whannell

Directed by: James Wan

MPAA Rating: PG-13

Critic's Rating: *** stars (out of 4 stars)

Saw filmmaker James Wan and screenwriter Leigh Whannell have proven their notoriously sordid stripes when routinely concocting a blood-thirsty showcase meant to elevate the shock value out of one's nauseous nerves. In Insidious, the Wan/Whannell tandem ease up on their latest frightfest a bit with a surprising PG-13 rating-a far cry from the over-the-top pornographic gory R-rated fare that has ominously hovered over their aforementioned Saw film franchise.

Interestingly, Insidious is fueled with some conventionally sound and convincing horrifying hedonism that is quite reassuring in its delivery of tension-filled tenacity. Whannell's chilly script may whisper familiar volumes of a Paranormal Activity clone but its hefty heart is right where it belongs-within the confines of an icy atmospheric creepy thriller that works on the unexpected senses. Wan's direction is piercingly spry and unassuming as the taunting tale of a new haunting house begins to unravel on the unsuspecting inhabitants. Insidious, despite its occasional telegraphed lapses of suspense and intrigue, is effectively reasonable as a subliminal slime saga that tests the audience's fear factor in a darkly rich, psychological mode.

Everything is seemingly fine for the Lambert family as they move into their new house. Soon married couple Josh and Renai (Patrick Wilson and Rose Byrne) and their two boys and baby start to discover the gradual peculiarities of their brand new residence. Strange occurrences are in effect-doors swinging back and forth, objects moving without any rhyme or reason and odd voices are heard throughout the wicked walls. Understandably, panic sets in for the Lamberts as they continue to endure the weird activity of their head-scratching dwelling.

Infuriatingly, matters become worse as the couple's son Dalton (Ty Simpkins) experiences a freak falling accident that results in a long-term comatose state. Dalton's coma is puzzling given how it has kept the boy mute for an undetermined stretch of time. The toll of the bizarre and overwhelming happenings is too much for Josh and Renai to bear emotionally. Their suggestive response: to move into another home and escape the escalating madness. However, the different surroundings bring on the same old terrifying tactics as the haunting hysterics continue to beleaguer them at the newer venue. The intensity of the terror-ridden torture is up a few more notches and this leads to the climax of the family's buried dysfunctional secrets.

Along for the harried hayride in the Lambert's haunted homestead includes Josh's stoic but reliable mother (Barbara Hershey, Black Swan) on hand to witness the sideline mischievousness. Other characterizations include the presence of a supporting hippy-dippy medium (Lin Shaye) as well as a couple of paranormal investigators (Angus Sampson and Whannell doing double duty as writer/co-star).

Thankfully, Insidious has a traditional approach to its macabre material that is smart, sensible and low key. Wan's shrewd tendency to start off his caustic narrative quietly is ideally fundamental thus allowing the manufactured creepiness to absorb within the audience's lingering expectations. The subtle trauma is built up as questions are predictably raised about the off-kilter proceedings. What devilish source is behind the exhaustive methods to frighten the Lamberts? What connection do the supernatural events have to the Lamberts that allow this terrible happenstance to persist?

The performances are quite instrumental as the periled participants are guinea pigs to the creepy corruption that engulfs them at will. Wilson's Josh is genuinely embittered and skeptical as the head of household stuck in the middle of this menacing malaise. As Renai, Byrne is winning as the housewife going completely out of her mind in the wake of her growing insanity. Simpkins's Dalton demonstrates a kind of spookiness that is deliciously understated. Overall, the distraught circumstances that overwhelm the Lambert family are methodically dispersed with motivating anxiety.

Insidious proves that tranquil terror tales can be just as impactful as the full blown gross-out quotient of high-octane hack cinema if not more involving and intriguing based on its challenging and calming canvas of chaos. Gripping and grotesque in its own right, Wan's humble horror show is a welcomed complexion to the smear-fear genre.