When your film features the director and writer of ""Saw"" (James Wan and Leigh Whannell, respectively), and is produced by the director and writer of ""Paranormal Activity"" (Oren Peli), it is fairly certain that something good will come of it. ""Insidious"" revolves around a family who experiences paranormal disturbances after their son, Dalton (Ty Simpkins), falls into an inexplicable coma. They soon find out Dalton is trapped in the world of his dreams, called ""The Further,"" and they must face a realm of demons in order to save him. This psychological thriller does not attempt to shock audience with blood, guts, and elaborate methods of execution, nor does it rely entirely upon unseen antagonists.
While ""Insidious"" does deal with a haunting, its demons are far from discreet––they are not only visible, but intrusive. These disturbing figures come and go as they please, threatening the very peace of the household. We know that there is an evil presence in this home without pots and pans dramatically falling, or dogs barking at seemingly nothing.
It is nice to see how this team has grown. It is no longer afraid to step out of the box of traditional horror in order to communicate its concepts. The ""Insidious"" demons really hold their own, creating bold disturbances without ever feeling excessive. It is here that ""Insidious"" succeeds where countless other horror films fail: It knows when to hold back, and when to go all out.
Initially, there were moments of awkward dialogue mixed with ambiguous acting that gave me pause. I had expected more from Patrick Wilson, who plays Dalton's detached father. At times, it felt as though he was merely a mask instead of a real character. Even so, ""Insidious"" is certainly a strong enough film to overshadow the bits that I wished were cleaned up.
So much of ""Insidious"" revolves around the idea of fear, as we find Dalton held captive in a sort of ""Hell chamber,"" literally a prisoner of his own fears. The more these characters feed into the strange happenings, the more shaken their home becomes. The movie is layered with various ideas and symbolism, tying together a piece that is equally smart and entertaining.
""Insidious"" succeeds as a horror film because of its variety of tactics. It does not rely on loud noises, sudden appearances or subtle and unexpected images, but rather a combination of all of these elements. It plays with us as we watch, drawing us in at just the right moments, building up the tension in all the right ways.
One particular way this is done is through music. Throughout several instances, we hear the sharp, piercing squeals of violins, accurately accompanying the buildup of action. At other times, we are simply given the background music of a 1920s ukulele on an old record player. There is something so wacky and cheerful about this song that it really creates a disturbing effect next to the horrific occurrences.
But ""Insidious"" is not only a good film because of its ability to scare audiences. Much of what makes this film complete is the fact that it is so visually pleasing to watch.
The world of ""Insidious"" is both eerie and beautiful. It is rare to come across images that are simultaneously unsettling and aesthetically pleasing. These hellish fiends carry a very classical air about them, giving the entire film a strangely nostalgic feel.
Ultimately, Wan and Whannell's unique vision of horror has been fulfilled with a great deal of thought and craft.
