Why do ghosts always have to make things so difficult for the living? One would assume that if you were a spirit stuck in some sort of purgatory you’d be happy to find someone like parapsychologist Elise Rainier (Lin Shaye) to talk to, but even the helpful ghosts in Insidious: The Last Key can’t seem to communicate without popping up from the dark and screaming at her. If they just calmly explained themselves they’d be able to deal with their problems much easier. Much like the other films in the franchise, the fourth Insidious is very much a haunted house picture that reliably delivers everything that premise entails. Expect lots of wandering around in the dark, surprise appearances from spooky longhaired ghosts, and revelations of dark secrets, but most of all you can expect to comfortably forget most of the film after an enjoyable enough hour and a half.
Insidious 4 sits in an odd place in the series, serving as a sequel to Chapter 3 and a prequel to the first film. I guess this is what happens when you kill off the best character at the end of Insidious 1. Thankfully Shaye is willing to keep coming back, as her warm and comforting presence does lend an air of credibility to some (but not all) of the most ridiculous scenes. She is once again joined by her tech team, Tucker (Angus Sampson) and Specs (Leigh Whannell). The return of these comic-relief characters, who weren’t particularly funny in the original and aren’t particularly funny four films later, is less appreciated but somewhat inevitable when one of their actors, Whannell, is writing the screenplays and giving his own character self-serving heroic and romantic moments. This time round the team visit Rainier’s childhood home in order to deal with a demon that Elise inadvertently released into the world when she was a girl.
The demon, creatively named ‘Key Face’, is an admittedly interesting monster design and another creepy performance from horror regular Javier Botet (It, Mama, Alien: Covenant, The Conjuring 2) but is never really given any explanation by Whannell’s screenplay. While too much backstory can rob a monster of its scaring power, so little is ever revealed about The Last Key’s main antagonist that it has no real impact beyond jumping out and shouting ‘boo’. Instead the story focuses on numerous flashbacks to Elise’s past, which regularly repeat the same moments over and over to ensure no one has missed the important parts or blatant foreshadowing and guarantee the movie reaches its ninety minute runtime. Many of the scares are rehashes of scenes from the first film, and director Adam Robitel seems to be just leaning on the same tried-and-test filmic techniques James Wan established in the first two films and perfected with The Conjuring. Cameras pan slowly around corners, monsters are kept out-of-focus in the background, and faces appear unexpectedly over shoulders. It’s a good thing The Last Key finishes right where Elise’s story intersects with the first Insidious, as there doesn’t seem to be anywhere for this franchise left to go.
2 and a half stars.