“It’s the dregs of mainstream horror, silly and scare-free save for an occasionally decent jolt.”
, given that Wan has moved on to bigger blockbuster fare like the forthcoming. Nonetheless, co-creator Leigh Whannell remains responsible for helping conceive the story upon which Scott Teems’ script is based. Such creative continuity, alas, simply means that the film peddles more of its trademark supernatural inanity. Its characters may be desperate to remember the things they’ve willfully suppressed, but as this dud confirms, some things are best left forgotten.
At school, Dalton befriends Chris , an outgoing girl who accidentally winds up as his dorm-mate, as well as attends an art class run by a teacher who encourages her students to tap into their subconsciouses for their work. By doing so, Dalton produces an eerie drawing of the malevolent red door seen in the earlier films. He doesn’t know what lurks behind it, yet it’s not long before he starts having visions from his past and of the other side.
Grumpily dragged to a fraternity party by Chris, Dalton spies the puking ghost of a dead kid, and courtesy of Chris’ handy internet sleuthing—which turns up a video by paranormal experts Specs and Tucker —he eventually deduces that he can astral project his soul out of his slumbering body. This compels him and Chris to test out his skills back at the frat house, leading to one of many sequences marked by a prolonged build-up and no pay-off.
Wilson directs this scene with aplomb, affording recurring glimpses of a fuzzy front-lawn specter who appears to be approaching the house, and then delivering a shock that works thanks to some arrhythmic editing. It’s the sole moment throughout this endeavor that genuinely rattles the nerves, and it makes one wish that Wilson had focused more of his efforts on unexpected frights like these, rather than on the misty, murky mayhem that ensues.
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