INSIDIOUS: CHAPTER 3 (2015) Review

It's been a long time since the Leigh Whannell-James Wan duo, who continued the writing-directing division that began with Saw in Dead Silence and two Insidious films, started to skim the cream of the industry as producers. Having lined their pockets with 10 Saw films, Wan's directorial talents have undoubtedly contributed greatly to Whannell single-handedly carrying the "post-2000 American horror tradition.

After learning that Wan would not be taking over the directorial seat of the new Insidious, the only possible hope for the series that I thought should end could be for the other parent to take over the seat. What kind of touches Leigh Whannell, who is having his first directorial experience, would make to the mythology he created was a matter of curiosity for all of us, although not much.

Insidious: Chapter 3, which goes back before the first two films, opens with the text 'A few years before the Lambert Case'. Medium Elise's door is knocked on and we meet Quinn, who wants to communicate with her dead mother. This prequel, where the Brenners will replace the Lamberts, is woven with the 'man who can't breathe' that Quinn's quests haunt her and the 'subjective reckonings' that will put Elise's retirement on the shelf.

It is clear that Whannell, who thought of enriching the series with weak additions such as the introduction process of Elise's team with Specs and Tucker and where the old woman who terrorized Father Lambert came from, has failed in 'producing new material'. The fact that all the positive returns regarding the world created in the first two films are spent makes Chapter 3 look like a mass production product emulating The Insidious. In addition, the difference in quality between the families centered is very noticeable. The basis of the problem, which is based on the 'lack of a mother figure', is tried to be covered with the idea of 'the good spirit who helps'.

Whannell, who confines Quinn to bed just like Dalton in the first film and leaves her vulnerable 'against possible dangers', repeats himself on the one hand and wanders around James Wan's safe zone on the other. While the horror sequences created with Wan's irable visual intelligence are replaced by a horror understanding based on splatter, the sustainable tension escapes behind the mountain of hood. Of course, this is a matter of preference and for those who like to jump an average of 10-12 cm from their seats, Chapter 3 is great.

The most important distinguishing element of the series' vague appeal, the 'far away' depiction, unfortunately, misses the mark this time. The series, which captivates us with its memorable colorful designs of those on the other side, looks 'unpretentious' in one word, as it leans towards the 'in-betweeners' behind long corridors and doors. This definition should have been inevitable in the case of Insidious.

Insidious: Chapter 3, which does not have the richness required to be a prequel but also makes a last effort to exhaust the 'unknown' in of things we can call 'unknown', takes its place in memories as the best of the worst. On condition that we forget it tomorrow...

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