They Come from the Further!

***/*****

A family's idyll is undermined by a perplexing incident involving child Dalton (Ty Simpkins) falls into what they perceive to be a coma, but father and mother, Josh and Renai Lambert (Patrick Wilson and Rose Byrne), so realize that he has the uncanny ability to "astral project" himself during sleep (the ability of his soul leaving his body). After leaving a house they moved into because of eerie noises, disturbing sights of disrupting apparitions, unsettling voices, and Dalton's condition doesn't improve their situation at all…it only worsens as those from a limbo-type after-death known as "the further" want to use Dalton's body to enter the world of the living. If they don't want to forever lose their son, the Lamberts will need to enlist the aid of psychic Elise (the great Lin Shaye, inheriting the best role of her career) and her two paranormal investigating cohorts, Specs (Leigh Whannell, writer of the film) and Tucker (Angus Sampson). Barbara Hershey also shows up as Wilson's mom, Lorraine.

James Wan's ode to "Poltergeist" and its ilk even offers a hideous red-faced, black bodied demon which kidnaps Dalton and awaits Josh. Josh, a school teacher growing weary as his wife is in regards to the condition of a dormant Dalton, will need to head into the further to find his son, much in the same way Carol Anne will need her mom to do the same in Poltergeist. You have pale-skinned ghouls seemingly frozen in non-motion, only to creep up on Josh when he turns around while journeying into the further might remind you of the "look out behind you" Weeping Angel Stone Figures on Doctor Who. The home-made gadgets Specs and Tucker pull out to investigate are a real side-splitter (they are fashioned by toys, household items, and everyday devices), particularly the gas-mask head piece Elise wears while communicating to Specs what Dalton says inside the further. The bickering and attempted one-upmanship between Specs and Tucker is part of their Abbot and Costello shtick and charm. Their partnership with Elise itself is rather amusing…how they seem like such an unlikely trio out to help others stuck in a situation few would accept as factual.

Wan followed his "Saw" formula in the bleak ending (you also see this in "Dead Silence") as perhaps someone who came back from the further might not be who they appear. The sound effects and music cues are a Wan necessity it seems. The "Insidious" titles in big red letters and the violins striking up aloud are a trademark of the franchise…quite a recognizable aesthetic. The lantern light Josh uses as he moves through the further really is a nice touch, such as when he encounters those in this after-death… but there is a lot of darkness, and the decision to show as little of the demon as possible gets a bit disappointing. It is shown just enough to prove how unpleasant it looks…Specs drawing of it based on Elise's description is a good little scene, though. The pictures by Dalton also offer an affective visual evidence Josh needs to motivate him to disavow his skepticism. Elise's fate is horrifying and somewhat unexpected. The further offered Wan and Whannell plenty of room to create this completely unique world…for the most part it can be quite equal parts spooky and frustrating considering the darkness. The ghost photography is an obvious homage to the Japanese horror boon of the late 90s/early 2000s as Josh is linked to Dalton in regards to his own ability to astral project. The way the ghouls emerge and pop up at unanticipated times are essential tricks Wan relies on throughout. This film seems to be a like it or disapprove of it affair. I guess I'm somewhere in the middle.