Recensioni di Metacritic

Insidious: The Red Door has some wonderful jump scares, some very creepy sequences, and it gives new terror to the prospect of receiving an MRI. This is an excellent summer horror film, and if you like having the bejesus scared out of you, Insidious: The Red Door will provide about 2 hours of entertainment.

Insidious: The Red Door is a satisfying conclusion to the Lambert family’s long nightmare journey into The Further, even if it starts to rely too heavily on jump scares by the end.

While it may be time, and somewhat bittersweet, to say goodbye to the Lamberts and their parapsychological baggage, this is a well-conceived and impressively executed finale to the saga. It also proves that Wilson has what it takes both behind and in front of the camera. It’s a little scary how multitalented he is.

Insidious: The Red Door might not be the scariest installment in the franchise, but it feels a lot more human than the others before it. The character moments end up feeling more effective than some of the film's big set-pieces and, while that may bug some genre purists, those who have stuck around since the first film released over 10 years ago will be pleased.

Insidious: The Red Door closes the book on the Lambert family and delivers more than a few thrills and chills. It doesn't reinvent the wheel, and it doesn't really add a whole lot to the series as a whole.

For a first-time director, Patrick Wilson doesn’t do a bad job, but he’s working with tropes that have already been worked to death. It’s time to close this carnival of souls down.

Spread thin between that father-son drama and the jolts intended to galvanize it, Wilson’s creaky debut underdelivers on both.

Its characters may be desperate to remember the things they’ve willfully suppressed, but as this dud confirms, some things are best left forgotten.

If anything keeps “Red Door” going, it’s Autumn Eakin’s exquisite cinematography. The Further looks like a shadow reflection of the real world, and she and Wilson never fail to come up with aesthetically interesting and sometimes ingenious light sources to illuminate portions of it.

The writing expends more effort on teasing out the logistics of seeing dead people than making the phenomenon frightening or emotionally resonant.