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00:00:00 Citizens of the Reject Nation, we are headed back once more into the further.
00:00:06 Greg and John here for Insidious, The Red Door, Chapter 5. Are you excited, sir?
00:00:12 Yes, I have only seen the first two once, but we sat down
00:00:16 to read the plot descriptions in detail together, John.
00:00:19 That's right, we did.
00:00:20 And I remember everything now.
00:00:22 It's as if you just saw the movie fresh 10 minutes ago. Well, guys, leave a like for
00:00:28 good research and also subscribe to the channel and hit the notification bell to learn when we
00:00:33 have more reactions for you guys to consume. Thanks to the folks at Prepper for cutting
00:00:37 these highlights down. It's tough work and we appreciate and admire them for it.
00:00:42 Last but not least, if you want to join us for the entire Insidious, The Red Door experience,
00:00:46 receive every bit of content that doesn't make these reaction highlights, come on over to
00:00:51 Patreon.com/therealrejects, sync up with your own copy, check out the other shows we got over there.
00:00:56 Just feel the love. Without further ado, let's get spooky.
00:01:01 Cool shot.
00:01:16 Good job, Patrick Wilson.
00:01:18 Good job, Patrick Wilson with the interesting, ominous upside down directing.
00:01:23 Definitely taking notes from the directors who come before you.
00:01:26 Time to keep and a time to throw away.
00:01:30 Who died?
00:01:32 Is it Josh's mom?
00:01:33 It's Tucker and Specs in one coffin.
00:01:36 That's how they would demand to be buried.
00:01:39 They couldn't decide who got the better plot, so they just went out in one coffin together.
00:01:45 It is the mom.
00:01:45 Yeah.
00:01:46 I miss grandma.
00:01:48 She misses you too, Kelly.
00:01:49 Dead people don't miss anything.
00:01:50 There's so much you have forgotten.
00:01:54 See you guys next weekend, okay?
00:01:56 Dalton.
00:01:57 It's the POV of AirPods.
00:02:01 AirPods.
00:02:02 Pod of you.
00:02:05 Why don't you drive him to school?
00:02:08 You have a few weeks until all your students show up.
00:02:10 Nah, he wouldn't want me to.
00:02:12 He's not the parent, you are.
00:02:14 I mean, if you don't want to, then that's a different story, but...
00:02:16 I can't.
00:02:16 Why?
00:02:17 You're his father, force him.
00:02:19 Aw, his name's Carl.
00:02:25 Some way that you guys could connect, that's all.
00:02:28 You know, he's gonna be gone soon, so, you know, think about it.
00:02:31 Are they not together anymore?
00:02:34 That's how it appears right now.
00:02:35 Where's the movie about their divorce?
00:02:37 Let's go further into their relationship.
00:02:39 Excuse me.
00:02:41 Do I know you?
00:02:44 Whoa, that focus.
00:02:48 Appreciate you coming.
00:02:49 I'm sorry I grabbed you.
00:02:50 I got a lot on my mind.
00:02:51 I'm sure death floods the mind with memory.
00:02:55 Theme!
00:02:55 Oh no.
00:02:56 But there's always new ones to make, right?
00:02:58 Other theme!
00:02:59 People say we ruin the experiences in movies.
00:03:05 What are you guys talking about?
00:03:08 Oh wow.
00:03:13 Oh wow, Patrick Wilson, you and your stylistic text choices.
00:03:18 I tell you what, we can clean, you can just clean out the diaper.
00:03:25 They put the same diaper back on.
00:03:27 That's crazy, they DH Ty Simpkins to be a baby.
00:03:29 And it looks flawless.
00:03:32 What kind of house did he live in?
00:03:35 How?
00:03:36 Is there someone behind him?
00:03:38 It sure looks like it, damn.
00:03:39 That's fun.
00:03:41 Do you want to tell me?
00:03:42 All you gotta do is talk to me.
00:03:44 What the hell's happening right now?
00:03:47 Oh shit.
00:03:49 I mean.
00:03:53 Dude, that's kind of terrifying what the shit is happening right now.
00:03:57 And the slow zoom in too, like.
00:03:59 Uh oh, it's gonna be really close.
00:04:04 Yeah, it's gonna be in the backseat.
00:04:05 Oh, no.
00:04:07 It's in the gas pipe.
00:04:08 That was spooky.
00:04:12 I hope he keeps that steady hand pace of direction throughout,
00:04:16 because I like the deliberateness and the patience behind the shot so far.
00:04:22 Well, and the editing too has an interesting snap about it,
00:04:25 like the combination of the shots and the editing.
00:04:27 Cool opening shots.
00:04:36 It's making these child drawings feel larger than life.
00:04:39 Wow.
00:04:46 He remembers very iconic shots from the previous movie.
00:04:50 And he gave Patrick Wilson a goatee.
00:04:52 That's also, yeah.
00:04:54 It's okay, it's all in the residual astral, you know, imprint.
00:04:59 You're gonna have to pull out of your little funk or it's gonna be a long few days.
00:05:04 It's well framed for these text moments.
00:05:12 Welcome to JPU.
00:05:12 I'll take one for him.
00:05:16 Thank you.
00:05:17 What does JPU stand for?
00:05:20 Just Pazuzu University.
00:05:22 This movie looks shot way better than the trailers made it look.
00:05:25 I know.
00:05:26 Mom got you this power station thing, USB port, and two jumper cables, which are useless.
00:05:34 Yeah, you say that now, but you haven't been to the finale of this movie.
00:05:38 It was a college dormitory.
00:05:40 There are lots of things we can do with jumper cables.
00:05:43 This is intense.
00:05:44 So what you've been working on?
00:05:46 Put it back.
00:05:46 No, it's really good.
00:05:48 Did you do this from memory?
00:05:49 I seem behaving like a moody 12 year old.
00:05:52 I don't know.
00:05:53 I guess I didn't make the wall, huh?
00:05:58 What was that shot of you and Redface?
00:06:00 I'm sorry I haven't been around lately.
00:06:05 Of course, my dad wasn't around at all.
00:06:06 So you should appreciate my ass.
00:06:09 I've just been a little foggy past few years.
00:06:13 I don't know, my brain just...
00:06:15 Have you ever thought about getting help?
00:06:17 I'm just trying to push through.
00:06:18 Yeah, I don't need help.
00:06:19 This is 1956.
00:06:22 I'm not here for your radical ideas.
00:06:24 Everything cool, fellas?
00:06:26 Yeah, no, everything's fine.
00:06:28 I just I thought my roommate would be a...
00:06:29 A white girl.
00:06:32 Father of Dalton, allow me.
00:06:37 I clearly interrupted some boy bonding.
00:06:39 I'll be back.
00:06:40 You really don't know me, do you?
00:06:45 I mean, you really think I want to join a frat?
00:06:47 It's just a party, Dalton.
00:06:49 I mean, do it for me.
00:06:50 I drove you here.
00:06:51 You're f***ed up, man.
00:06:52 I heard what mom said at the funeral.
00:06:54 Well, I still did it.
00:06:55 Oh, so that makes you father of the year now?
00:06:57 After all we have done for you?
00:06:58 When did you become this ungrateful little shit?
00:07:01 No wonder mom divorced you.
00:07:04 Thanks for the ride.
00:07:06 Give you a one star rating.
00:07:08 Hey, I like this mature conversation.
00:07:10 It feels just like Hollywood tension between them.
00:07:15 I feel that an actor directed this movie.
00:07:18 Yeah, it's a lot more real.
00:07:20 I'm liking it so far.
00:07:22 Something tells me this is going to be like
00:07:24 the semi Mike Flanagan version of Insidious.
00:07:27 Yeah, that makes sense.
00:07:29 A little more restrained, less bonkers.
00:07:31 Yeah, story about grief,
00:07:33 reconciliation,
00:07:35 bonding,
00:07:35 forgiveness.
00:07:37 Aw, well, they're just both so out of touch with the truth.
00:07:50 And I mean, they both are playing a certain level of like mental kind of fogginess.
00:07:54 Well, the low grade.
00:07:57 I have a melodica.
00:08:00 I gotta sleep here tonight.
00:08:02 You're in the art school, I take it?
00:08:04 Yeah.
00:08:04 Are you music?
00:08:06 Math.
00:08:06 I thought about music, but the artist's life is one of nomadic instability and much gnashing of teeth.
00:08:11 Amen, sister.
00:08:12 I would say that if she was also a white woman.
00:08:14 Amen, lady.
00:08:18 Is that his mom's song?
00:08:28 It's just something my mom wrote.
00:08:29 Yeah.
00:08:29 From the first week.
00:08:30 Call that a callback.
00:08:31 We call back.
00:08:33 What's some weird shit about you?
00:08:35 You first.
00:08:36 On Sundays, I wear a monocle and I order takeout with a British accent.
00:08:40 That is weird.
00:08:40 Okay, sometimes I eat instant oatmeal with no like water or milk or anything.
00:08:48 It's just kind of dry.
00:08:50 That's gross, man.
00:08:51 I was in a coma.
00:08:53 I don't remember anything.
00:08:55 It's like I woke up one day and a whole year had passed.
00:09:00 Should have loved that.
00:09:01 You would have won this conversation.
00:09:02 I've been afraid of the dark.
00:09:05 Seriously.
00:09:05 Sorry.
00:09:06 Whatever.
00:09:07 I have a sleeping mask.
00:09:09 Oh my god.
00:09:12 Perfect lighting to illuminate some spooky scenes to come.
00:09:16 Keep ghosts obscured.
00:09:20 Hey, bud, it's me.
00:09:24 Just making sure you're getting settled in.
00:09:26 Okay.
00:09:27 I don't know what's going on with me.
00:09:30 But I'm gonna find out.
00:09:32 Oh.
00:09:34 I will say they really are taking their sweet time with the build up to some scares.
00:09:38 No ghosts or anything.
00:09:38 Yeah.
00:09:39 Except that one lady in the back window.
00:09:41 Like I'm ready for spooks now.
00:09:45 We're ready for spooks.
00:09:46 You are the fifth movie in our franchise.
00:09:48 Get to it.
00:09:50 Your technique is obvious.
00:09:53 It looks like a photograph.
00:09:55 Tear it up.
00:09:56 I worked my ass off on this piece.
00:09:58 No one will miss it.
00:10:00 Wow.
00:10:00 No way.
00:10:02 Usually I go through introductions before someone quits.
00:10:06 I didn't quit.
00:10:07 Yes, you did.
00:10:09 You can go.
00:10:09 Wow.
00:10:11 What an excellent teaching approach.
00:10:13 That'll be $50,000.
00:10:15 No refunds.
00:10:17 We are going to break the rules.
00:10:21 See how broken you can get.
00:10:23 Oh.
00:10:26 What if yours was the only painting she liked?
00:10:29 Yes.
00:10:31 Why in the hell would you destroy a beautiful drawing?
00:10:34 Yes.
00:10:36 I thought it was the test.
00:10:38 You must let go of your past.
00:10:40 Shed your skin in order to grow.
00:10:43 It's like there's themes here.
00:10:44 With each number, I want you to sink further and further.
00:10:51 Further.
00:10:52 Further.
00:10:53 Why did you say that?
00:10:54 Further.
00:10:54 Concept.
00:10:55 Everyone should sink further.
00:11:00 You've got to be willing to dredge up your ugliest, innermost thoughts.
00:11:05 All right.
00:11:07 Draw the first two movies.
00:11:10 Do it.
00:11:12 Draw a cool Mondo poster we can sell later.
00:11:15 Oh.
00:11:21 Oh, snap.
00:11:27 That got me.
00:11:30 Dang.
00:11:30 Uh-oh.
00:11:38 Is that real?
00:11:39 Is it coming out of the painting?
00:11:41 You'll have headphones on.
00:11:43 I feel like you need to get out of there.
00:11:45 Give the call, ball squeeze.
00:11:46 We'll give you a break.
00:11:46 All aboard.
00:11:48 What a medicine-looking MRI room.
00:11:53 [MICHAEL DOES A BIRD NOISE]
00:12:01 Ugh.
00:12:01 Jesus.
00:12:07 Yeah.
00:12:07 Is that what an MRI machine sounds like?
00:12:09 I mean, I guess if you press your ear against it.
00:12:11 Uh-oh.
00:12:15 He's gone into this further.
00:12:16 Yeah.
00:12:17 Dr. Brower?
00:12:20 There's someone with you.
00:12:22 That's cool.
00:12:25 Hello?
00:12:27 Hey!
00:12:27 Can you let me out?
00:12:30 The door is open.
00:12:33 Get me out of here.
00:12:40 Hello?
00:12:40 Hey!
00:12:42 Let's wriggle down.
00:12:45 What the hell?
00:12:48 What is that?
00:12:48 What?
00:12:50 It's gonna be a hand on your face.
00:12:53 Yup, there it is, man.
00:12:55 Let me out!
00:12:55 Was it only...
00:13:04 Mr. Lambert?
00:13:16 What's that?
00:13:16 Are you okay?
00:13:17 What was that?
00:13:18 All the lights went out.
00:13:19 I got stuck in there, man.
00:13:20 I saw...
00:13:21 Been asleep for 15 minutes.
00:13:26 You went right out.
00:13:27 Now, your MRI went perfectly.
00:13:30 You just had a nightmare, man.
00:13:31 So far, the couple of scares they've had, they haven't relied on music.
00:13:35 Yeah.
00:13:35 Or, I recall the Insidious movies relying a little bit more on music.
00:13:40 Oh, yeah.
00:13:40 I've heard more of that jarring burst.
00:13:43 Yeah.
00:13:44 Good news, Mr. Lambert?
00:13:45 I guess I was just hoping for something real.
00:13:48 Something that could explain this fog.
00:13:52 It's mental.
00:13:53 Do you have any history of mental illness in your family?
00:13:57 Not that I'm aware of.
00:13:59 It's worth looking into.
00:14:00 You may be having a mentee bee.
00:14:02 You can do it to stimulate your memory.
00:14:03 Matching games, like kids do.
00:14:06 You always play kids games?
00:14:08 Do sometimes.
00:14:09 We can learn a lot from kids.
00:14:11 You gotta learn from your own kid.
00:14:13 Oh, man, it's a clue.
00:14:15 The screenplay's giving you a clue.
00:14:18 [LAUGHTER]
00:14:20 Learn from your kid, man.
00:14:21 Very specific blue lighting to this film.
00:14:28 Yeah.
00:14:28 It's like the further is cleavering in on them.
00:14:32 Oh, it's seeping in from the edges of frame.
00:14:35 Yeah.
00:14:36 Well, and every place in the school is underlit.
00:14:38 [LAUGHTER]
00:14:40 [MUSIC PLAYING]
00:14:42 [MUSIC PLAYING]
00:14:48 Buy another 10 watt light bulb.
00:14:50 Oh, my god, that device is coming in handy.
00:14:54 [MUSIC PLAYING]
00:14:58 What happened to the light?
00:15:00 [MUSIC PLAYING]
00:15:04 The red desk lamp.
00:15:06 [MUSIC PLAYING]
00:15:13 Just like my old sheets.
00:15:15 We're going to clean that up, man.
00:15:16 You're going to be about to yell at you.
00:15:19 [MUSIC PLAYING]
00:15:22 That'll work.
00:15:23 That'll work.
00:15:24 [MUSIC PLAYING]
00:15:27 Cool.
00:15:28 [MUSIC PLAYING]
00:15:30 Got my new room assignment today.
00:15:32 I'm in 323 now.
00:15:33 Right above you.
00:15:35 So be cautious, young man, unless I hear you slap your sausage in the dead of night.
00:15:38 You will.
00:15:41 He's a very wacky character, this one.
00:15:44 Yeah.
00:15:44 I'm excited to hear her fight some ghosts.
00:15:47 We should go.
00:15:47 We can make fun of their khaki pants and trust funds.
00:15:51 Come on, Dolphin, do something nice for your old man.
00:15:53 [LAUGHTER]
00:15:54 I offer you some diaper pudding.
00:15:55 Good.
00:15:57 That is the worst themed snack.
00:16:00 To memorialize the night that Dalton Lambert actually has fun.
00:16:04 Photo.
00:16:05 Oh my god.
00:16:06 Do you think something will be in that photo later on?
00:16:08 Oh no.
00:16:09 Even the frat is lit like the further--
00:16:13 [LAUGHTER]
00:16:15 It's a demon party.
00:16:16 Oh no.
00:16:18 This is Nick's room.
00:16:21 And this is Nick's butthole cream.
00:16:22 I'm going to spread this on the communal crapper, BRB.
00:16:25 [LAUGHTER]
00:16:27 What if Nick comes up there with something?
00:16:28 I want to Nick lock the door to this room.
00:16:30 Especially if you got money.
00:16:31 [GASPING]
00:16:36 [LAUGHTER]
00:16:38 Hey man, you OK?
00:16:39 You need water or something?
00:16:42 Don't talk to me.
00:16:43 They can stop.
00:16:44 Whoa.
00:16:45 They can stop.
00:16:46 Whoa.
00:16:48 Close the door.
00:16:49 See the guy who died?
00:16:52 Need some supplies.
00:16:54 Hey, Paige.
00:16:57 I am Nick.
00:17:00 Aw.
00:17:01 Oh Christ.
00:17:09 Are my eyes deceiving me?
00:17:17 No.
00:17:18 He just wants to say hi.
00:17:26 This is like the sixth sense.
00:17:27 [GASPING]
00:17:29 [SCREAMING]
00:17:30 Whoa.
00:17:31 Oh no.
00:17:32 Oh, gross.
00:17:34 Gross.
00:17:35 We need to go.
00:17:39 Now.
00:17:40 But this is just getting fun.
00:17:41 [CHATTER]
00:17:45 Nice.
00:17:45 Nice, bro.
00:17:46 So sorry.
00:17:49 We were just looking for some privacy, you know?
00:17:53 We were going to do it.
00:17:54 You should stick around.
00:17:57 We might get drunk enough to find you attractive, even though you look like a cunt.
00:18:01 Snick the d--
00:18:04 Oh, shit.
00:18:04 I'm more partial to kick the d--
00:18:07 Oh, yeah.
00:18:07 What a weird inclusion of comedy in this movie.
00:18:12 Yep.
00:18:12 I don't like this framing.
00:18:22 Stare deeply into the red hues.
00:18:25 [MUSIC PLAYING]
00:18:35 Oh, he naturally got there.
00:18:36 Got into your own self-induced trance.
00:18:39 It's a cool way to re-enter the further, officially.
00:18:46 Yeah, it's training like he's lucid dreaming.
00:18:49 Yeah.
00:18:49 He's not horrified.
00:18:51 He's comfortable.
00:18:52 Oh, yeah, subconsciously, he just must know this place so well.
00:18:55 It's not as good as my room.
00:19:06 Well, there's my mayonnaise.
00:19:11 Whoa.
00:19:11 Sounded as I was freaking.
00:19:16 [MUSIC PLAYING]
00:19:20 Ha.
00:19:21 [MUSIC PLAYING]
00:19:23 Whoa.
00:19:23 Way to terrify her.
00:19:25 You are the spook now.
00:19:27 [MUSIC PLAYING]
00:19:33 Whoa.
00:19:33 Oh, my god.
00:19:34 What was that?
00:19:35 Kind of like a creature.
00:19:38 Is it just like spindly arms?
00:19:40 I find my mind going from, this is boring and repetitive from things I've seen to,
00:19:45 oh, my god, that's scary.
00:19:46 Yeah.
00:19:50 He is in an odd position.
00:19:51 Yeah.
00:19:51 Fifth film.
00:19:52 I'm seeing things, crazy things.
00:19:55 It started with an art exercise.
00:19:57 Dig deep into a memory, into our subconscious.
00:20:00 I drew this door.
00:20:01 You really need to lay off the frat juice.
00:20:03 You're the one who just experienced a weird ass--
00:20:05 Yeah.
00:20:06 I feel like I'm getting closer to something.
00:20:09 There's something that's getting closer to me.
00:20:11 It's approaching.
00:20:13 He's in his underwear.
00:20:18 Yes.
00:20:19 That shirt off.
00:20:19 Patrick Wilson is either shirtless or in his underwear.
00:20:22 [LAUGHTER]
00:20:23 He chose to do it this time.
00:20:24 That's right.
00:20:25 His call.
00:20:26 What was with the focus on two doors?
00:20:29 You know, one of those doors is a spooky door.
00:20:33 The other door is a salvation door.
00:20:34 It's open now.
00:20:39 Oh, no.
00:20:40 Spooky door.
00:20:40 That's what was with the focus on the door.
00:20:42 [MUSIC PLAYING]
00:20:45 Insidious house of doors.
00:20:47 [MUSIC PLAYING]
00:20:49 Oh, the mom's alive as a dead woman.
00:20:52 You know what I mean?
00:20:53 Yeah.
00:20:53 Her presence.
00:20:54 Oh, she's trying to reach out.
00:20:56 Hey.
00:20:58 Dalton.
00:21:01 Callie.
00:21:04 Dalton.
00:21:08 Dalton.
00:21:10 Mom.
00:21:13 Memory games.
00:21:14 Good.
00:21:15 [FOOTSTEPS]
00:21:18 Whoa.
00:21:18 So he's got some, like, specific ghosts that's following him
00:21:24 around, while Dalton is literally just hopping in and out
00:21:27 of the further.
00:21:28 It almost feels like the further itself is calling to Dalton
00:21:31 while there's still--
00:21:32 OK.
00:21:37 [GUNSHOT]
00:21:39 Whoa.
00:21:40 Damn.
00:21:40 What the hell?
00:21:41 [LAUGHTER]
00:21:44 Woo.
00:21:45 Whoa.
00:21:45 What?
00:21:51 Why are you running up the stairs?
00:21:56 Damn.
00:21:56 That felt very tangible.
00:22:01 Yeah.
00:22:01 This room just feels like a god.
00:22:03 It just--
00:22:03 [LAUGHTER]
00:22:06 Ooh.
00:22:09 Creepy.
00:22:10 Nice.
00:22:13 Whoa.
00:22:14 [LAUGHTER]
00:22:18 You got the scares, man.
00:22:19 Like, jeez.
00:22:20 Yes.
00:22:26 Welcome.
00:22:26 [THUD]
00:22:32 [GASPING]
00:22:34 Good transition.
00:22:36 Did this movie have, like, god-awful reviews?
00:22:38 I feel like it got kind of middling reviews.
00:22:40 [LAUGHTER]
00:22:41 I feel like I saw some people be like, this is pretty good.
00:22:44 And some people would be like, meh.
00:22:45 It's another ghost movie.
00:22:46 Definitely feels like there's a going for that Mike Flanagan
00:22:48 touch.
00:22:49 Yeah.
00:22:50 Leading him to create this grisly portrait of a father
00:22:54 devouring his son.
00:22:55 Damn.
00:22:59 It's a metaphor.
00:23:00 Dude, this art teacher is like the most apt teacher
00:23:04 for his journey.
00:23:05 She's leading all her students to become tortured artists
00:23:08 of any true therapeutic help.
00:23:10 Relive your trauma.
00:23:12 And I'll see you next week.
00:23:13 [LAUGHTER]
00:23:14 [SCREAMING]
00:23:17 Whoa.
00:23:17 I don't want this to sound the wrong way.
00:23:25 I usually associate Patrick Wilson
00:23:27 as like a dude with a six pack.
00:23:29 Did he intentionally gain weight for this?
00:23:31 I don't know.
00:23:31 I was wondering that, too.
00:23:33 He looks just more like regular dad bod.
00:23:36 I mean, I can see it for the character.
00:23:38 It makes sense.
00:23:38 [MUSIC PLAYING]
00:23:43 Come on, man.
00:23:43 Doesn't that mean anything to you?
00:23:45 A red door?
00:23:46 You sound weirder than usual.
00:23:49 Is this what happens when you go to college?
00:23:50 You get all cryptic and shit?
00:23:52 I guess.
00:23:53 Well, I'm not going then.
00:23:55 Bye.
00:23:56 Bye, little brother.
00:23:58 Don't miss you at all.
00:23:58 You got your cameo in.
00:24:00 All grown up.
00:24:00 Don't miss you.
00:24:01 [LAUGHTER]
00:24:05 Ugh.
00:24:06 That drawing is coming together.
00:24:07 That is icky.
00:24:09 It's like a leather face or something.
00:24:11 You're not crazy at all.
00:24:12 You are an astral projector.
00:24:16 Oh my god.
00:24:17 It's on the WWE WSF YouTube channel.
00:24:19 Hey, guys.
00:24:20 This is Spectral Sight.
00:24:21 Yes.
00:24:21 This is Tucker.
00:24:22 Say hi, Tucker.
00:24:23 No.
00:24:24 OK.
00:24:26 Astral body leaves that physical body
00:24:29 and floats off into another realm.
00:24:32 That's exactly what it feels like.
00:24:33 See, I told you.
00:24:34 It's cool, right?
00:24:34 You're trying to make this seem like bad editing,
00:24:36 but it's pretty good.
00:24:37 Yeah.
00:24:38 Dr. Elise Renier, she had a name for this other realm.
00:24:41 She called it the Further.
00:24:44 I'm here to talk to you about astral projection.
00:24:48 Someone who's not aging.
00:24:49 I know.
00:24:50 It's a dark realm, and some are doomed
00:24:56 to live the worst mistakes of their lives
00:24:58 over and over and over for all eternity.
00:25:01 It's a mess up, Wes.
00:25:03 Life is what they crave.
00:25:05 The further you travel, the riskier the journey becomes.
00:25:10 And they can come to our world to get it.
00:25:14 Keep a steady stride.
00:25:16 Creepy.
00:25:18 You talk video was slowly zooming in.
00:25:21 Tim Burns.
00:25:22 Get a film student in here to record this.
00:25:25 What if he meant something else?
00:25:27 What if he was talking about this door?
00:25:29 So what, you want to go back and ask him?
00:25:32 Yeah.
00:25:34 So what's the plan?
00:25:35 I got this.
00:25:36 Can I help you?
00:25:39 Hello.
00:25:40 The British accent.
00:25:41 Hey, where's your monocle?
00:25:43 What are the chances those bedsheets are crusty?
00:25:46 Probably snapped like a taco shell.
00:25:48 I'll take the dirty floor.
00:25:50 It's crustier down here.
00:25:53 It's crust everywhere.
00:25:55 Don't turn on a black light in this room.
00:25:57 10, 9, 8, 7.
00:26:03 Damn, is that easy?
00:26:04 For movie purposes, I guess.
00:26:06 I don't know.
00:26:07 All you got to do is count down.
00:26:09 Yeah.
00:26:10 Every New Year's, man, must be a nightmare for this guy.
00:26:14 He's always in the Eiffel Plane on January 1st.
00:26:17 I don't know why.
00:26:19 Are you floating yet?
00:26:20 Farewell, traveler.
00:26:28 That's cool.
00:26:29 There's like some poltergeist elements to it.
00:26:35 I'm going to be a while.
00:26:37 Gross.
00:26:37 Oh, no.
00:26:41 No, no, he's in the bathroom with him while he's doing this.
00:26:43 Yep.
00:26:44 Dalton.
00:26:48 Dalton.
00:26:52 It consumes life.
00:26:53 Dalton.
00:26:58 Dalton.
00:26:59 Oh, no.
00:27:01 Chris.
00:27:02 Seriously, guys, who's messing with me?
00:27:04 Close the door.
00:27:06 Close the door.
00:27:07 Whoa.
00:27:07 Dang.
00:27:14 Close the door.
00:27:19 Oh, no.
00:27:27 Damn it.
00:27:29 Damn it.
00:27:31 Oh, no.
00:27:34 Oh, God.
00:27:35 Come on.
00:27:39 Wait, is she her or is she--
00:27:46 Must be her, I guess.
00:27:54 So is every movie of this character just him
00:27:57 rediscovering his past?
00:27:58 Yeah, just different parts of his past
00:28:00 that have been walled off in an attempt to protect him.
00:28:04 Just a different flavor every time.
00:28:07 I mean, kind of, because Insidious 2 just
00:28:09 pulls back a layer of hidden astral memory,
00:28:12 then lays a new concealer over it.
00:28:16 Is that your daddy?
00:28:23 I didn't know anyone could get hurt in the real world.
00:28:25 I can't be a part of this, Dalton.
00:28:28 And neither should you, because next time, you
00:28:30 might not wake up.
00:28:31 Yeah, we've been there.
00:28:32 I do feel like the first half hour of this
00:28:35 had a pretty solid character development,
00:28:37 and this has been a little bit--
00:28:40 Plot beats and stuff.
00:28:42 Yeah.
00:28:43 It's like a slower, repetitive version of the other movie.
00:28:47 Well, yeah, because now we're in a space where we kind of just
00:28:49 know a lot of the stuff they're trying to uncover.
00:28:52 Yeah.
00:28:53 And I thought they had some interesting explorations.
00:28:57 I'm still enjoying it, though.
00:28:58 I don't want to be misunderstood.
00:28:59 I'm still enjoying it, but I felt like it's
00:29:01 losing some of its strengths.
00:29:03 The door, and now a guy with a hammer.
00:29:06 I've had this image in my mind for years.
00:29:09 We're in a room somewhere, like a basement.
00:29:19 I love when they frantically edit
00:29:22 montages of people doing very patient activities.
00:29:25 Oh, it's dad.
00:29:34 It's dad.
00:29:35 From part two.
00:29:36 That's cool.
00:29:37 Remember that time dad went all Jack Torrance?
00:29:39 The dad will devour you.
00:29:41 Yes.
00:29:43 All I ever wanted was to be better than my father.
00:29:45 You were.
00:29:46 You are, Josh.
00:29:48 Well, Dalton would disagree.
00:29:49 If it's any consolation, I can't even get him to call me back.
00:29:52 The acting in this is really good.
00:29:54 I would even say better than the previous ones, though.
00:29:56 Yeah.
00:29:57 That is like one of its strengths, though.
00:29:59 And like Ty Simpkins growing up over time,
00:30:01 like he's doing a great job, too.
00:30:03 I am angry.
00:30:04 I've been angry for a long time.
00:30:05 Angry at a man that I have never met.
00:30:07 Angry at a man that jumped off the roof of a mental hospital
00:30:10 in 1978.
00:30:12 Yeah.
00:30:13 So how in the hell is he terrorizing me here now?
00:30:16 He attacked me at mom's--
00:30:17 He attacked you?
00:30:18 Yeah.
00:30:19 So am I just crazy?
00:30:20 Oh, I didn't put that together.
00:30:22 Yeah.
00:30:24 I mean, it was a guess, but yeah, confirmed.
00:30:27 Left this for my mom the day he died.
00:30:30 Oh, I wonder if he read some H.P. Lovecraft.
00:30:38 This is very much like an H.P. Lovecraft story, his journey.
00:30:48 Oh, you number who dis?
00:30:52 Save him, Chris.
00:30:54 And I do like from a--
00:30:56 oh, man.
00:30:57 I do like from a psychological standpoint
00:30:59 that they're treating the astral production inheritance
00:31:01 like a mental illness that passes through the men.
00:31:05 So Dalton and I could travel to some dimension
00:31:10 where we were haunted by ghosts and goblins.
00:31:15 Well, when you put it like that--
00:31:17 Like the one in those photos that haunted you.
00:31:20 Back then, he told your mom she didn't know how to help him.
00:31:23 Oh, I helped him like you helped us,
00:31:25 by suppressing her memories.
00:31:27 Oof.
00:31:28 You'd think they would have an inclination
00:31:30 that it would have something to do with all this shit.
00:31:33 I mean, yeah.
00:31:35 I'm divorcing you.
00:31:36 And I was too scared to tell you the truth.
00:31:38 I'm going to leave you on your own.
00:31:39 Yeah, you deal with the shit.
00:31:42 We'll raise our kids over here.
00:31:45 We'll let Dalton deal with it, too.
00:31:47 10 years.
00:31:47 You have no idea how hard it has been for me.
00:31:48 For 10 years, you have kept this away from me.
00:31:50 Honestly, you don't know. Please, you don't understand.
00:31:51 Why? Why?
00:31:52 Because you tried to kill our family.
00:31:55 Yeah.
00:31:56 You chased us around the house with a goddamn baseball bat.
00:31:59 You just won me over.
00:32:01 That's right. I forgot about that.
00:32:02 Yeah.
00:32:03 I've been lying to our children for a decade,
00:32:06 telling them those memories aren't real.
00:32:08 Dad's not going to hurt you.
00:32:11 Oh.
00:32:13 OK, this is good.
00:32:14 This is finally feeling like a real sequel.
00:32:16 I couldn't live like that anymore.
00:32:18 Yes.
00:32:19 OK, this was like,
00:32:21 it might be an hour and 20 minutes.
00:32:22 This is like this sequel stuff I've been craving.
00:32:26 Like, oh, here we go. Direct continuation.
00:32:28 100%.
00:32:29 Yeah. Instead of just suppress, remember?
00:32:33 Dalton just sent this to me.
00:32:36 Something about a red door.
00:32:38 What do we do?
00:32:39 Call Carl.
00:32:43 Tucker inspects.
00:32:44 Yeah.
00:32:45 Oh, nice.
00:32:50 Cool.
00:32:51 Ooh.
00:32:53 Embrace the hammer and use it as a tool.
00:32:56 This is a different side to the further.
00:33:05 Yeah, a whole different lighting.
00:33:07 [Screaming]
00:33:09 [Groaning]
00:33:11 [Crying]
00:33:13 [Screaming]
00:33:15 Oh.
00:33:18 [Gunshot]
00:33:22 [Gunshot]
00:33:26 It's a good thing you get this memory
00:33:27 from a third person point of view.
00:33:29 Here's Joshy.
00:33:31 Mom! What are you doing?
00:33:35 Dad, please, just stop.
00:33:37 Just stop.
00:33:39 [Screaming]
00:33:41 [Screaming]
00:33:43 Dad!
00:33:45 Whoa.
00:33:47 What the hell?
00:33:53 Is this going to actually be them?
00:33:55 Yeah.
00:33:57 [Screaming]
00:33:59 Hey.
00:34:01 This song is for you.
00:34:05 [Music]
00:34:07 Were they trying to say that that's what happened?
00:34:12 Or is this just a play on his memory?
00:34:14 I think it's just a play on the memory.
00:34:16 I don't think he put the hammer there.
00:34:18 Yeah.
00:34:19 [Music]
00:34:21 Ugh.
00:34:27 [Gunshot]
00:34:30 Whoa.
00:34:33 Oh, the opening shot.
00:34:35 Oh, wait.
00:34:41 Is he not him?
00:34:42 Oh.
00:34:44 [Laughing]
00:34:54 Oh, yeah.
00:35:01 Why is his face actually morphing?
00:35:03 I think the longer, I mean, he just got possessed,
00:35:05 but I think the longer possession lasts.
00:35:07 Because with Patrick Wilson, they also had him
00:35:09 with like old lady features.
00:35:11 Dalton?
00:35:13 Hey.
00:35:21 Yo, I would leave this room.
00:35:23 Dalton.
00:35:25 You're aware enough.
00:35:27 Bring some Christmas lights with you.
00:35:31 [Music]
00:35:33 Whoa.
00:35:35 Evil contacts.
00:35:37 Oh.
00:35:39 At least he blasted her onto the bed.
00:35:43 Oh, yeah.
00:35:50 There you go.
00:35:51 That's the stuff.
00:35:57 Are we going to get all three generations in the further?
00:36:01 Dalton.
00:36:05 Oh.
00:36:10 I forget how transport works here.
00:36:12 Does he just like walk all the way from their house
00:36:14 in the further to the college?
00:36:16 We're going to get out of here,
00:36:24 and we're going to get home.
00:36:25 Yeah.
00:36:27 That's right.
00:36:28 I forgot there's also like time dilation overlap.
00:36:30 This movie semi-plays like a nostalgia hit
00:36:34 of the last couple of Insidious movies.
00:36:36 Yeah.
00:36:38 Remember Insidious?
00:36:40 Dalton.
00:36:43 Don't be cowards, movie.
00:36:47 Kill her off.
00:36:48 Kill her off.
00:36:49 Let's do this.
00:36:51 Oh, damn.
00:36:53 [Music]
00:36:57 Whoa.
00:36:59 He's freeing you.
00:37:01 Hey.
00:37:03 Yeah.
00:37:13 Then you're going to know what it really feels like
00:37:14 to be blamed for something that wasn't actually your fault.
00:37:16 Yeah.
00:37:17 You little shit.
00:37:21 And now you can think of me swinging the hammer to save you.
00:37:25 Oh, yeah.
00:37:37 Oh, cool.
00:37:40 Juiced up his mouth effects.
00:37:47 It's the red door.
00:37:50 Shh.
00:37:52 Ew.
00:37:58 Go. Get away.
00:38:00 Ew.
00:38:03 So they just seeped into the real world now?
00:38:06 That's what appears to be happening right now, yeah.
00:38:10 Dad, please.
00:38:13 She's a ghost.
00:38:17 This ends with me.
00:38:19 You go.
00:38:21 Go.
00:38:23 Aw.
00:38:27 No.
00:38:29 Oh, God.
00:38:33 Maybe the point is to not close the door.
00:38:37 I feel like that's probably where we're headed.
00:38:39 This ends with me.
00:38:42 Hey, I called it.
00:38:44 Everyone, look at me.
00:38:47 [Music]
00:38:50 Oh, sad.
00:38:58 It's still kind of like the painting.
00:39:00 It's really a form.
00:39:02 [Music]
00:39:05 Paint. I told you.
00:39:10 Oh, yeah.
00:39:13 Painted shut.
00:39:14 Interesting.
00:39:16 Ugh.
00:39:20 Yeah.
00:39:32 That's a cool cut.
00:39:35 Say something cool at him.
00:39:42 [Music]
00:39:44 That was a cool visual.
00:39:46 That was a really cool visual.
00:39:48 Burn it. Forget about it.
00:39:49 No, no. Forgetting it doesn't work.
00:39:51 We need to remember.
00:39:53 Even the things that hurt.
00:39:55 Themes.
00:39:57 Dad.
00:39:59 I think Patrick Wilson did a really great job directing it.
00:40:05 I hope he gets an opportunity to direct like an original script.
00:40:09 Yeah.
00:40:11 [Music]
00:40:13 Oh, be the light to guide you home.
00:40:20 [Music]
00:40:22 It's not him.
00:40:31 No, no. He kills his wife.
00:40:33 [Music]
00:40:35 Can you stand back?
00:40:37 Yeah.
00:40:39 Does Dalton only attend that one class?
00:40:41 Yep.
00:40:43 Yeah.
00:40:45 It's a really lax structure in terms of how many units you need per semester.
00:40:51 Hey, we're a happy family again, guys.
00:40:54 Hey.
00:40:55 We're getting back together.
00:40:56 And Chris lives with us now.
00:40:58 See you next Friday.
00:41:00 You can come a little earlier if you want. Join us for dinner.
00:41:03 I'd like that. Thanks.
00:41:05 I do think that they missed out on a big thing with not making it a little bit more about them.
00:41:10 I mean, yeah. I do think they really missed out on that.
00:41:13 I think the way he's handled the directing of it is really great.
00:41:16 It's more like I appreciate the efforts of the script a lot.
00:41:20 Lovely home.
00:41:21 Oh, thanks.
00:41:23 Do you live here?
00:41:24 I hope so.
00:41:25 Is it her?
00:41:26 I guess I'm just lost in memories.
00:41:29 They can flood the mind.
00:41:31 Come on.
00:41:33 Show me her voice.
00:41:35 I know you.
00:41:41 You're that woman on YouTube.
00:41:43 I know your mother.
00:41:45 You have a bright future ahead.
00:41:47 You and Dalton.
00:41:49 Keep a steady stride, Josh.
00:41:52 Oh.
00:41:54 Nice.
00:41:55 I'm just going to go tell that MRI doctor he's a quack.
00:41:57 Yeah.
00:41:59 What's wrong with me?
00:42:01 Yeah.
00:42:06 Devil woman.
00:42:10 Dad made the wall, you think?
00:42:15 Got to have.
00:42:17 Wow.
00:42:19 I made the wall.
00:42:23 Yeah.
00:42:25 Not bad.
00:42:28 Cinematic image.
00:42:30 All right.
00:42:36 Patrick Wilson singing.
00:42:38 Is it actually his voice?
00:42:42 Yeah.
00:42:44 He collabed with that band called Ghost for this cover song, apparently.
00:42:49 A little self-indulgent here.
00:42:53 I know you sang in the conjuring, too, but you don't have to do it every movie.
00:42:58 I'm directing this, I'm singing over the credits.
00:43:01 I stopped getting naked in movies, so now I'm going to sing.
00:43:04 He's got a lovely voice.
00:43:09 He does.
00:43:11 But we can talk about the movie while he sings this.
00:43:14 Yeah.
00:43:16 I enjoyed that quite a bit.
00:43:18 I feel like one thing coming into this movie for me that I had to catch myself on was like, you know, you get to part five and something and you're like, okay, here we go.
00:43:26 I'm not expecting necessarily greatness, but remembering back over the franchise, I've liked pretty much every Insidious movie.
00:43:33 And I feel like this keeps up a lot of the qualities that even the mid-chapters, three and four, that people don't look as fondly on.
00:43:42 Those movies both to me had charms.
00:43:45 I thought three was really liked.
00:43:48 Probably.
00:43:49 But I feel like just as we've gotten --
00:43:51 I must look!
00:43:52 Well, I think it got good reviews, and I think people were pretty pleased generally with it.
00:43:56 I am looking, John, you talk while I look.
00:43:58 I would assert the idea that as we remove ourselves further in time, people probably look back on the first two movies --
00:44:06 Focus while Greg does his interruptions!
00:44:08 -- as being the definitive chapters, and then three and four being more auxiliary for various reasons.
00:44:14 In three, you had Lee Wunnell's directorial debut, which was certainly fun and punchy, and that movie managed to create something that's a little elevated from what the idea would have you expecting,
00:44:27 especially based on the idea that it is the third in a franchise.
00:44:30 And so here, coming into this, part of me was just sort of like, okay, this is a lot of different stakes.
00:44:36 It's Patrick Wilson's directorial debut.
00:44:38 We're on Insidious five now.
00:44:40 Yeah, okay, so Insidious two is 39%.
00:44:44 Wowie.
00:44:45 Insidious three is 57%.
00:44:47 Oh, wow, okay.
00:44:48 Well, then I must be mistaken.
00:44:51 Oh.
00:44:57 Cute little post-credits there.
00:45:01 The door will return.
00:45:03 But yeah, I don't know, before I go too far, what did you think, sir?
00:45:09 Now that we've discovered that everyone apparently loves three a lot more than part two.
00:45:14 Well, actually, this has the same Rotten Tomatoes score as part two.
00:45:18 Okay.
00:45:19 Interesting.
00:45:20 People don't love that Lambert family, I guess.
00:45:24 That's the first one.
00:45:26 I think part two is one of those that's been appreciated more as time went on.
00:45:31 Sure.
00:45:32 I never rewatched it because I remember not really liking it that much.
00:45:36 Okay.
00:45:38 Maybe I was in the minority at the time.
00:45:40 I liked part two, and part two is certainly crazier, and it goes after different movie tributes and stuff like that.
00:45:46 But I thought it was a step down for sure.
00:45:49 Sure.
00:45:50 Yeah.
00:45:51 I mean, I feel like I imagine most of our commentary made this reaction.
00:45:58 Who knows?
00:45:59 But I feel like I was making it pretty clear how I was really feeling about it throughout.
00:46:04 I do think that the movie -- there are things that I would find myself going, like, what is resonating more with me here on my subjective viewing experience?
00:46:23 Because there's a lot here that ultimately when you pull it back, you go, a lot of this is just mainly them remembering the first couple movies, but in a really deliberate film.
00:46:37 Yeah.
00:46:38 Like a slower film without the punch of a Lee Wannell direction or a James Wan direction.
00:46:44 Yeah, it's not going for as much of a funhouse tone.
00:46:47 It's going very much for a creeping, slowly unfolding kind of thing.
00:46:52 But with the true emotional substance not really there until the finale and the first act.
00:47:01 And act two is mainly, like, slow, deliberate, creep stuff, but loses a lot of that nuance that is present in the first act and the third act.
00:47:13 And I think what was really seen for me, it's like the father-son story, I think they should have had them interacting a little bit more together instead of telling just two completely separate plot lines with them.
00:47:28 And -- because then it's just them on their own going, I'm starting to remember the first movies, you know?
00:47:35 That's what they're essentially doing with a little bit of Patrick Wilson going, my dad!
00:47:40 And then I think they should have dealt more with -- I loved what they just included it so late.
00:47:48 If they did deal with that of, like, oh, they're divorced, what happened?
00:47:52 But then really dealing with the repercussions of what the dad did in the second movie, you know?
00:47:59 And it's like they only had that with Dalton who had this angst about it instead of the other kids.
00:48:06 And I'm like, oh, there seems like there was a more -- I feel like there could have been a way more interesting movie while still doing, like --
00:48:13 Because, like I said, the Patrick Wilson's directing I thought was really good.
00:48:16 I thought the shots looked great.
00:48:18 Like, on the trailers, it looked like some weird straight-to-DVD shit.
00:48:22 And when watching the actual movie, like, no, this looks really good.
00:48:27 It's a great-looking film.
00:48:29 And it's well-edited.
00:48:31 He's got a great sense of aura and tone.
00:48:33 And, yeah, it's well-edited.
00:48:35 And the scares are actually quality.
00:48:37 I thought they were good quality scares.
00:48:39 The only thing that kind of hampers it is at times you're like, yeah, this is --
00:48:45 Yeah.
00:48:46 Just shot different.
00:48:47 It's the same -- it's the -- like, we're just redoing the same kind of scare but just a different type of direction on it.
00:48:54 Which is understandable for a sequel to "Insidious" and going back into it further.
00:48:58 But the plot context I thought could have just been so much more dynamic and just overall, like, in the most simplistic terms, way more engaging.
00:49:08 If they did have more of that interaction where that's where the real meat of the story was.
00:49:15 And clearly that's what the movie is even saying at the end here.
00:49:18 But they introduce it so late.
00:49:21 Yeah.
00:49:22 As a thing that, like, oh, that would have just made a way more interesting movie if this is what they're dealing with instead of, like, that same beat all over again.
00:49:31 What, I have a thing from my past and I'm going to -- we're doing it again just with a different mood wrapped around it.
00:49:40 Yeah.
00:49:41 It's interesting.
00:49:42 Like, I admire the choice.
00:49:44 I think, yeah, it's like I can imagine an alternate version of this script where you have them still learning about the situation and filling in the gaps for themselves on their own.
00:49:54 But there was something they said early on, and I think we even joked about it, the whole, like, it's going to be an awkward few days if we're not talking to each other.
00:50:01 And part of me was, like, if you had it such that he was going to be however far away, you know, the school is from where they live, like, okay, he's going to be there for, like, a week or something.
00:50:09 So it's like they could get distance from each other but be very close together for some of the emotional beats of this.
00:50:15 Because, yeah, it's like without that in the middle, you do feel like, okay, we're kind of -- it's not as good as, like, the sum of its parts in that section.
00:50:25 Because, yeah, it's like they're doing fine work watching the individual plot lines lay out, but then that stuff becomes a lot more nuts and bolts and a lot more creeping toward things that we already kind of know are coming, I guess.
00:50:37 Well, it's because when you get that final moment when he finally meets up with Rose Byrne, that actually introduces a tangible ingredient of something they have to overcome.
00:50:50 Yeah.
00:50:51 On an emotional core level, on a physical level, whereas most of the movie prior to, like, the last 20 minutes is them just, I'm trying to remember something.
00:51:04 Yeah.
00:51:05 Yeah, yeah, yeah. And I got to go in and out of the further to get there, I guess.
00:51:09 Yeah. And we know -- and the thing is, it's not that -- it's not mysterious.
00:51:14 Yeah.
00:51:15 Because we know the mystery. We know what they're trying to unpack. We know the answer. So it's not as interesting as it looks, you know.
00:51:26 And if you'd had him uncovering -- like, I like the whole thing with the painting and the way it's slowly taking shape and, like, oh, there's a face and it's all vague and distorted.
00:51:36 Like, I feel like there would have been a way maybe to amplify the effects of him finally realizing, oh, shit, that's Dad. The memory's all coming back.
00:51:43 In a situation where Patrick Wilson as a character is a bit closer in proximity and closer in terms of just, like, the direct link between their two stories as they unfold or something like that.
00:51:54 Like, yeah, I liked where it got to and I thought those scenes were great.
00:51:58 And, like, for her brief appearances, I thought Rose Byrne did a terrific job.
00:52:01 And that's something I remember about the first movie, too, is they had a really nice sense of, like, cross-talk with each other and, like, those kind of intimate family vibes.
00:52:10 They missed that. I think that's a missing ingredient here.
00:52:14 Yeah.
00:52:15 Yeah, it's weird. It's like it makes sense as to why these things would happen.
00:52:19 And I thought it was funny we were saying that, going, like, yeah, you know, kind of left him alone.
00:52:23 Well, he did try to, like, massacre your whole family.
00:52:25 This has been very traumatic.
00:52:27 But at the same time, having it -- it's weird.
00:52:29 It's like I admire the choice of this being the father-son story, mostly focusing on them.
00:52:33 I like the choice that they have at least the one brother sort of at least kind of involved on the periphery.
00:52:40 But there is something about, like, that family unit.
00:52:43 I feel like we experience them mostly in the memorial and then in flashback.
00:52:48 And it would have been nice to have, like, that family unit a little more vital throughout or something.
00:52:53 Yeah. Yeah, because, like I said, the purpose to -- the purpose to remember, I think we needed a little bit of clarity on -- like, if you think about the first movie, the purpose to remember is I've got to get my son out of where he's trapped.
00:53:12 He's not in a coma.
00:53:14 Yeah.
00:53:15 You know?
00:53:16 Yeah.
00:53:17 I have to save him.
00:53:18 Yeah.
00:53:19 It's not just about remembering for remembering's sake because my mind is bothered by some shit.
00:53:24 You know?
00:53:25 It's --
00:53:26 Like, you need that actual thing to thrust the movie forward.
00:53:28 And so it does feel as great as the movie actually looks and as solid as the acting is from everyone here.
00:53:38 And I like some of the deeper nuances they're aiming for for the commentary on mental health and repression and all that jazz.
00:53:48 Like, it's a more -- at times on the nose, but I think for the most part a more, I guess a more mature handling of it than the previous ones.
00:54:00 It's a rare movie like this where I feel like the subtext is, like, really well intact and then just some of, like, the actual immediate plot beats, like, could do better accentuating that.
00:54:11 Yeah, yeah.
00:54:12 Yeah.
00:54:13 Because especially -- like, for my benefit, I have only -- I haven't really -- I've only seen the second one once.
00:54:21 And I think I've seen the first one twice.
00:54:23 Yes, I must have.
00:54:24 Because I saw it at home -- I saw it in the theaters and then when we saw the second one, I think we went to a double feature, right?
00:54:31 Yeah.
00:54:32 Yeah, I remember when that happened.
00:54:33 And it didn't help because the second one was not as good as the first.
00:54:37 If you don't like the second one, you go, "Oh, that's one downhill path."
00:54:40 Don't worry.
00:54:41 It's not as bad as the time I saw all the five diehards in the same day.
00:54:45 Sure, sure.
00:54:46 Because that marathon got real challenging.
00:54:49 Yeah, so that's, like, the main missing thing for me was the potential of the movie really finally became crystal clear when she introduced that.
00:54:57 I'm like, "Oh, that would have just been a much more interesting film."
00:55:00 Yeah.
00:55:01 If it was, like, you know, you try to do something or, like, the kids are all -- like, if he was just, like, shunned from the family and the kids -- because I only got the sense that Dalton had an issue with him.
00:55:12 I didn't get the sense the other kids had an issue with -- or at least the other son.
00:55:16 It makes sense for Callie or whatever.
00:55:18 The daughter is not involved in this by all intents and purposes.
00:55:22 But she's a baby, right, in the other one.
00:55:23 In the first one, yeah.
00:55:24 So unless it's, like, truly that genetic thing.
00:55:27 But, yeah, it's like Foster should at least have some -- I don't know.
00:55:31 Yeah, it didn't read as much like a trauma.
00:55:34 And especially when he comes in on the both of them, it just seemed like, "Oh, it's just mom and dad."
00:55:38 Or if there was, like, a thing of, like, where did we go wrong?
00:55:40 Like, Patrick Wilson doesn't know and, like, Rose Byrne is, like -- there's, like, an anguishing conflict about, like, I want to be able to talk to you about this, but I can't.
00:55:51 You know?
00:55:52 You can't make --
00:55:53 It's dangerous.
00:55:54 You know?
00:55:55 I was, like, damn, there's such a meaty thing there.
00:55:57 Yeah.
00:55:58 Because I didn't quite get, like, what the point of them trying to -- other than was, like, okay, is the further just trying to seep back in?
00:56:04 It's like it had its character arcs and psychological things on its mind, but in terms of making the actual journey through it more dynamic, especially on an insidious level, it -- granted, I haven't seen the fourth one.
00:56:19 So I don't know how, like, terrible it is.
00:56:21 I forget what everyone said.
00:56:23 I mean, I thought it was -- it's probably the least --
00:56:26 I know it's the one --
00:56:27 But I thought it was pretty decent.
00:56:28 I know it's the one that people like the least.
00:56:30 I've never seen that one.
00:56:31 Yeah, I mean, it's -- I think just in a nutshell it's still in fitting with the, like, oh, okay, this is going for some emotionally motivated stuff and then lots of jump scares and yada yada.
00:56:41 It's probably the most sort of side quest-y feeling of all of them.
00:56:47 I like that one because it was, like, about Elise and it was, like, her movie to lead, which I thought was neat.
00:56:53 The opening of this film, that was the actual ending of part two?
00:56:57 Yeah.
00:56:58 It must have been.
00:56:59 I'm looking at the footage of them and I'm like, that's probably the best de-aging and digital creation of Ty Simpkins ever seen.
00:57:05 Yeah, totally.
00:57:06 Because I don't remember that at all.
00:57:08 Because, yeah, to repress that.
00:57:11 Because, yeah, I like the context of that, of, oh, what happens when you just try to repress it?
00:57:17 Yeah.
00:57:18 Instead of, like, you would -- this was a natural-fitting plot for that, but it just ultimately does feel repetitive.
00:57:25 But, no, I mean, other than me just sounding repetitive here, I think Ty Simpkins was great.
00:57:31 I actually enjoyed the presence of that new girl.
00:57:34 Chris was great, yeah.
00:57:35 I thought she was fun and brought life to it and her and Ty Simpkins had a great back and forth.
00:57:41 I like their friendship a lot.
00:57:42 I found that very endearing, even if that part, even if the middle of the movie does kind of sag under the weight of, like,
00:57:49 we're just kind of running around and figuring stuff out and trying to remember things.
00:57:52 I really like their rapport.
00:57:54 I thought her involvement with the plot was relatively conscientious in terms of just how characters respond to things overall.
00:58:01 And, yeah, like, I really appreciated -- or you know what I think could have helped?
00:58:08 I don't know.
00:58:09 I feel like because they had the whole divorce thing, it's like you could have kind of opened up throughout the middle,
00:58:14 I feel like you could have involved Rose Byrne to a point where it's like she and Patrick Wilson are trying to figure this out together
00:58:20 because he's clearly trying to make progress on this.
00:58:23 I don't know.
00:58:24 Yeah, it's like if you just moved the crest into Act 3 further back to being part Act 2 or something.
00:58:31 Yeah, if they learned all that shit halfway through, we'd start to get -- because then parts of the finale,
00:58:38 especially because it seems like the movie's going to be -- when it first starts off,
00:58:43 it seems like it's going to be an even displacement, even placement of scenes between Patrick Wilson and Ty Simpkins.
00:58:49 And then at a certain point, it's like, it's mainly Ty Simpkins and sometimes Patrick Wilson.
00:58:55 If you'd had him and her figuring this shit out and then --
00:58:59 Or even him -- Ty Simpkins calling Rose Byrne.
00:59:01 Involve her more in general.
00:59:03 I don't know why they didn't involve her.
00:59:05 It feels like a scheduling thing because she's barely in this movie.
00:59:08 Yeah, but she's clearly as committed as she's been before, and I feel like there could have been a greater enhancement of --
00:59:13 it's funny, it's one of those reviews where I'm like, I like most everything about this movie generally,
00:59:19 but it does kind of leave you thinking about a couple ways in which it could have been great.
00:59:23 And yeah, it's like I think they could have also made more out of the sense of distance
00:59:28 if you'd had those stakes kind of going sooner because it's like you've got Patrick Wilson doing his astral experience in one place
00:59:35 and then Dalton in a different location.
00:59:38 And that is neat as it's presented, but I think could have been like a much grander source of tension or something,
00:59:45 especially if you've got the family sort of -- I don't know, you'd have that extra layer of their relationship reforming
00:59:51 and maybe them getting past some trauma, the family kind of confronting this and strengthening together.
00:59:56 And then rather than that being like the sort of end destination, you could have that be part of their journey
01:00:01 as we then get to this, yeah, two-prong sort of further journey.
01:00:07 But either way, yeah, I really liked the returning cast.
01:00:11 Chris was great.
01:00:13 And the different flourishes of like the demons, the Tiny Tim stuff coming back.
01:00:17 There's like not much in the way of like further ghosts and things, but I always enjoy the aesthetic of the further.
01:00:23 Nice to see Tucker and Spex for a second, Elise for a second.
01:00:27 I mean, it's their franchise altogether.
01:00:31 In a lot of ways, I feel like it's been her franchise up until this point.
01:00:34 So this was kind of a neat sort of torch pass or at least a way to like wrap it up in a way.
01:00:39 It's like beyond her.
01:00:42 And yeah, like it's funny.
01:00:44 This is something I notice in movies of like when they have like art and artists and students and fine arts and things like that.
01:00:50 Like it can be kind of hit or miss in terms of like what really just reads authentically.
01:00:55 And I thought they had a lot of like really neat art designs in this.
01:01:00 And yeah, it's like for what it is, I appreciated it's like I like the script they came up with and the story they come up with.
01:01:08 And it didn't seem like anything was lazy necessarily.
01:01:11 But it does feel like this is one option out of a few options for how to present the story, I guess.
01:01:17 Yeah.
01:01:18 And I don't remember who they said was credited on the script, but looking it up right now.
01:01:23 But yeah, like I thought Scott teams.
01:01:26 I've heard that name, I think is a conjuring writer or something like that.
01:01:30 Halloween kills.
01:01:31 Woo.
01:01:32 Red face dies tonight.
01:01:35 He's a fire starter.
01:01:37 Oh, good.
01:01:40 That was well received.
01:01:42 And as high as one to recall that evening sun.
01:01:44 I don't know what this is.
01:01:45 OK.
01:01:46 I mean, I thought this was a nicely done directed as well.
01:01:53 As far as like scripts I have gripes about go.
01:01:56 I thought this was like, you know, it breathed nice.
01:02:00 The themes are a bit loud, but they're there and they make a lot of sense.
01:02:04 And I do appreciate that.
01:02:05 Yeah, just the rumination on like generational inherited traumas, mental illness, et cetera.
01:02:11 The way that comes out through art.
01:02:14 And I feel like that's kind of its own sort of trophy environment is like the big sort of cavernous art class room where we're going to do a lot of like dark emotional work and stuff.
01:02:24 And then the cutting back and forth and the painting actually being part of the experience there.
01:02:28 I guess it's a bit maybe muddier in terms of like the rules of the further because to you have like the scene where the demons are just all grabbing Chris and you're like, what are the wait, what exactly how does this work?
01:02:38 Well, I think that there was a an element of depth that they were teasing us with.
01:02:44 And I just think that depth gets so lost.
01:02:47 Yeah.
01:02:48 To just remember again, I'm sorry.
01:02:51 I know I'm being a literal fact finder.
01:02:53 Yeah, yeah, yeah, yeah.
01:02:55 Yeah.
01:02:56 That's and so to me, that's where my disappointment of it comes in, because I was like the first 20, 30 minutes I was like, oh, you know, there's something really interesting.
01:03:03 Yeah.
01:03:04 And then never mind.
01:03:07 We're going to we're going to divide the family up and then we're going to divide the two core units of the family up and then we're going to have like parallel plot lines until we get back to meshing.
01:03:16 And yeah, yeah, because because even because I even feel like Patrick Wilson's journeys hampered by he doesn't remember to like the last time he meets Roseburn.
01:03:27 So like he's back in the ford during his hand.
01:03:29 I'm like, oh, well, now we just got like we skipped over a whole journey.
01:03:32 I'm saying, yes, like if you'd involved her with a medical situation and his mind, you know, attenuation games and stuff like that.
01:03:39 Yeah.
01:03:40 I don't know. Yeah.
01:03:41 I think you could have a lot more gradually developed these themes rather than it feeling like, oh, yeah, they kicked back into gear.
01:03:49 All of a sudden we got like this big burst of breakthrough character energy.
01:03:54 Yeah, because I'm not even here being like, oh, I wanted more fun, scary stuff.
01:03:58 You know, I like the fun, scary stuff, and I think it's serious. It's one of its earmarks.
01:04:03 So perhaps that is a thing that is it can be a little listless, I imagine, for people when it comes to this movie.
01:04:11 But for myself, I don't know, I tend to be more of like a Mike Flanagan lover where I was like, yeah, just be the deep, dark drama.
01:04:23 Well, no, I thought a little bit of scares for what this is.
01:04:26 I thought it was I think it postures is that as a spook house as a deep, dark, as a deep drama.
01:04:35 Sure. Yeah. Sure, sure, sure.
01:04:37 There are certainly better choices they could have made if they really wanted this to be a deep, dark drama.
01:04:43 And and that thing that goes back to the script, though.
01:04:46 Yeah, yeah, yeah, totally.
01:04:48 Because it's it's excuse. I can see it in that mechanic of like it's reasons to get them alone, isolated and into situations where you can have these tense looking around jump scare kind of moments that we all associate with.
01:04:59 It's harder to do that in a group scenario. And yeah, but I mean, for whatever friction is caused by the amount of depth or not, the script is going for.
01:05:09 I thought the horror moments, the horror aesthetics, the characters we see, like the dead frat guy, you know, the moments in the further with the fog and the crazy rooms like I thought that stuff all still carried the aura.
01:05:23 And I thought the actual scare moments were all pretty well effective because, too, I remember, especially at the height of, you know, the sort of more recent ghost haunting movie boom.
01:05:35 It started to become a meme to me, like especially watching like the original Nun trailer or even in City is for you're like, OK, so how many different versions of like let's pan back and forth and try and misdirect your eye and all that stuff before we eventually jump out at you?
01:05:49 Can we do? And I thought this managed to have interesting, fun jump scares that didn't feel like they were trying too hard or forced to bend backwards.
01:05:59 I think I think that's a good credit to give the movie was it. Nor does it feel like just some afterthought, like I like the MRI scare a lot. Yeah, it lets you live in that moment.
01:06:09 Yeah, without it. Again, I respect them when they didn't rely on music. There was good jump scares, effective stuff here. And I like that Patrick Wilson was here to showcase his directing skills without trying to be like, I want to I want to make you a terrifying film.
01:06:24 Yeah, it's like he clearly learned stuff and the scares and the amount of horror stuff like proportionately, I think, matches the type of story this particular movie is.
01:06:34 Well, half of his films he made with James Wan. So, yeah, he must have learned. He learned a lot about using hot heads. He's made a lot of moving camera.
01:06:42 I believe five movies at least. Right. It's got to be five. Two insidious, two conjurings and an Aquaman. Yeah. So he's done five. Unless there's one I'm forgetting that James Wan directed.
01:06:54 But he's the Lost Kingdom. But if that ever sees the light, he really does like he does. He's like a fucking boy. Yeah, dude.
01:07:05 I realize James Wan really likes working with this guy. Yeah. It's like number one guy right there. I'm going to cast you in two very similar franchises and then take you on my blockbuster adventure.
01:07:16 Yeah, that's kind of crazy. Yeah, he really, really does get along with that guy. Yeah. Hey, you know, you find your muse. James Wan found Patrick Wilson.
01:07:27 All righty. Oh, pretty good. Leave us your thoughts. What did you guys think? Are you insidious fan? Did this movie live up to your expectations?
01:07:36 Where would you rank it in the pantheon of insidious? Leave us your thoughts. And before we get out of here, let's do a.
01:07:45 Gabriel Byrne, I'm assuming your last name is Byrne because Rose Byrne is in this movie. Booyah.
01:07:55 And if there's anybody I'd love to come home to in a state of traumatic distress to be comforted by Gabriel, that'd be you.
01:08:03 I feel like you calm me. You could provide me with the emotional and intellectual details to soothe my quandary and put me back on the path toward the light.
01:08:16 Does anyone call you Gabby Gabby Gab Gab Gabri Gibi? Oh, Gibby. I like Gibby.
01:08:22 You know, there's other variations of your name, like Gabry and Gabriela, Gabriel, Gabriel, Gabriel, Gabriel, Gabriel.
01:08:30 That's a cool one. Huh? I won't call you that. Let's try one more time. Gabby, Gabby, Gabe, Gabry, Gabby, Gabry, Gabriel, Gabriel, Gabriel, Gabriel.
01:08:39 Say that 50 times. He's Gabby. I just keep coming back to Gabby Gabry. That's the one I want.
01:08:47 Gabby Gabry Gab Gabry Gabby. I'm like, how many of these Gabby Gabry Gab Gabry Gabby Gabby Gabry Gabby.
01:08:56 How many of these names make shortening like negate the point of shortening a name by making it more complicated?
01:09:03 Choose your favorite nickname, Gabriel. Do you have one? Is it just Gabe? You should get some more original like Gibby or, you know, or Gibby Gabby Gabry Gabry Gabry Gabry Gabry Gabriela Gaberson.
01:09:16 Whatever it is, you let us know what you want to be called. And and we will neither assume you religious nor a simple Gabriel nor Gabe.
01:09:27 You will be the most uniquely named person at this Patreon. So keep on the straight and narrow. Stay out of the astral plane and stay pledged, though.
01:09:36 In fact, if you want to pledge on this plane and pledge in the astral plane just to cover yourself for all of time to come, it's a good idea.
01:09:43 But anyway, we love you here. Love you. And Gabby Gabry Gabry Gabry Gabry.
01:09:49 Oh.
01:09:50 (upbeat music)
01:09:52 (upbeat music)