I'm not a "jameswanaholic ", but I recognize that his contribution to horror film have personality and efficacy against many of his colleagues who try succeed in the territory of cinematic thrill. A priori distrusted this directorial debut Leigh Whannell, this third Insidious, further coated with the mantle of the prequel. A priori the matter had all the earmarks of being just an attempt to further exploit the two films directed by Wan and that he had told his colleague: "Come on, man, do it you I'm tired of the matter”.
But I have to admit that all these suspicions have been discarded, and although there is obviously a clear rationale for exploiting the saga this prequel, Whannell has been stepping to respect the essential keys that define movies directed by Wan not limited to copying Wan. Whannell has sought, and in my view has achieved, giving a personality to this third visit to the franchise. Its main success is not to get sucked into the illusion of overcoming the foregoing and modestly exercising their role as narrator in a territory that is not new at all, but know take advantage of a change of scenery and characters from previous films. For it is based primarily on an approach to the character of Elise (Lyn Shaye) either built from the script of the film itself and the work of the actress is even stronger than in his role as secondary in the first two installments. Whannell has not made the mistake of trying to change skin radically and hits the target building his film with good pace and thanks narrative solvency work begins on the script and is a smooth, consistent extension and balanced the direction. I think that's the secret to this film has not become something like the attempt to continue operating the franchise The Conjuring, another Wan film, with Annabelle. Quite the contrary: Insidous, Chapter 3, is a perfectly threaded piece with the two previous films that also serves as a prologue to the same consistent and knows how to take advantage of Elise's character, since the first installment was clearly the most interesting of the whole thing. And it does not melodramatic exaggeration: with elegant restraint, without making Elise in a kind of totemic figure for the showcasing of the actress, with moderation and a maturity that lend strength to the rest of the story, even this abound in the ceremonial known scares and thumping sound as an element that is also capable of manufacturing various shocks very accomplished. Whannell has also managed to move the occasional contact with the spectral life of Elise with a few strokes and maintaining an enviable balance between proven as director and newly opened effectiveness as director.
Miguel Juan Payán
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