‘Insidious: Out of the Further’ movie review: Further from its best

The Insidious franchise began in 2010 as a scrappy collision between James Wan’s love for old-school supernatural horror and Leigh Whannell’s taste for grubby genre silliness. Sixteen years since, Insidious: Out of the Further now features another new demon and a fresh opportunity to make the Further feel dangerous again. Jacob Chase, who previously directed Come Play, writes and directs this sixth film, which shifts attention away from the Lambert family toward Gemma (Amelia Eve), a single mother living with her daughter Maya (Island Austin) in the house where Gemma’s own mother died.

For the unattuned, Wan and Whannell built the series around a spirit world called the Further, where dead souls and demons hang around waiting to ruin someone’s day. After five films, the early Lambert family’s story has mostly run its course, so Out of the Further starts fresh with Gemma. The film opens in the past, when a young Gemma watches her demented mother kill herself. We then jump to the present, where Gemma is raising her daughter Maya in the same house. The trouble, naturally, has followed her home. 

Despite the Blumhouse-Atomic Monster pedigree, you probably shouldn’t be walking into the sixth Insidious expecting something as finely calibrated as Obsession or Backrooms. Unsurprisingly, plot and personality in this latest franchise outing has been granted the minimum operating budget required to get us from one scare to the next. Much of the film is drenched in that familiar silver-blue grading and persistent ‘Further Fog’, flattening every frame with the same refrigerated gloom. It also keeps piling on indicators that something terrible is happening, leaving the imagery with very little mystery to do any work.

Out of the Further does occasionally strike gold with some ingenious set pieces, especially when Gemma crawls into Maya’s pillow fort and discovers that the thing has somehow become much bigger on the inside. The cushions open into a long, beige maze that turns the cosy hideout into a surprisingly nasty little nightmare. There’s a Backrooms flavour to these endless upholstered passages and the sequence feels inspired by that one terrifying wall cavity sequence in Damian McCarthy’s Caveat, though the gag remains quintessentially Insidious. Chase understands the claustrophobic value of spatial disorientation here, but it’s a combination the rest of the film simply cannot manufacture.

A still from ‘Insidious: Out of the Further’
| Photo Credit:
Blumhouse

Gemma’s dental-hygienist setup also gives the film an unfortunate abundance of nausea-inducing material to work with, and so an assortment of gnarly teeth and repulsive oral sludge keep recurring periodically with almost vindictive enthusiasm. I’ve watched horror characters get butchered in ways that would make a butcher look away, but show me one properly rotten mouth and its game over for me. Dismemberment is fine, but gingivitis is where I draw the line.

In true Insidious fashion, there are plenty of other cheap-but-potent jump scares, though their steadily increasing frequency started to feel like the film defibrillating me every few minutes to make sure I hadn’t nodded off.

The new villain could have also been fun. Cyrus Lam (Sam Spruell), a caricaturish dead cult leader with an extravagant silhouette somewhere between Ozzy Osbourne and Marilyn Manson, commands a ghoulish following while plotting to bring the Further into our world. But the convoluted mythology is where the screenplay becomes particularly cumbersome. 

Gemma’s inherited psychic ability allows her to enter the Further and transport entities between dimensions, while Elise Rainier (Lin Shaye) continues her posthumous career as the franchise’s spectral problem-solver. The film keeps stopping to explain how all of this works, who can cross which boundary and why the latest threat requires Gemma specifically. Horror can survive almost any amount of supernatural nonsense when the images possess conviction, but here, the endless barrage of exposition sacrifices all the built up tension without actually supplying much usable logic in return.

A still from ‘Insidious: Out of the Further’
| Photo Credit:
Blumhouse

The comically bad final act is where the film finally throws whatever restraint it had left into the Further. Having spent the entire runtime building toward the emancipation of Cyrus and his merry band of dead weirdos, the film suddenly remembers the Insidious back catalogue exists and stages an Endgame-style reunion of its greatest hits. A flurry of familiar ghouls, including, The Bride in Black turn up, followed by the shotgun-totting Doll Girl, the instantly-forgettable KeyFace, and finally bargain-bin Darth Maul, AKA good ’ol Lipstick-Face eventually gets dragged out for his contractual jump scare.  

For all the nonsense it drags behind it, Out of the Further still retains the peculiar charm of that decade of 2010’s horror, when most studios had little objection to the spooky lore becoming progressively more ridiculous, as long as the monsters remained memorable and the audience kept showing up. Its occasional bursts of goofy invention recall that period fondly, even when the film itself struggles to sustain the same energy. And it also appears designed as a contained chapter, tying this arc into a surprisingly neat conclusion.

That tidy ending may irritate anyone who likes their horror to leave a little poison in the bloodstream, but I found it quite refreshing. After six films, Insidious has squeezed an impressive amount of mileage out of the same red door and might finally consider leaving something behind for the next franchise.

Insidious: Out of the Further is currently running in theatres

Published – August 21, 2026 03:04 pm IST