Lin Shaye

  • Dreamkatcher (2020)

    ByChristian Sauvé Movie Review

    (On Cable TV, October 2021) Trite, dull and indifferently executed, writer-director Kerry Harris’ Dreamkatcher is low-budget horror at its most unremarkable. A story of a mom at odds with her new step-son while he’s under the influence of demonic possession, it’s not a story without promise, but it wastes it all in muted execution. The possessed child angle is not without a few mild shocks, but they disappear in a series of plot holes, unlikable characters (what kind of dad leaves his girlfriend and son alone together for days when there’s clearly no trust there?), slow pacing and unconvincing moments. Horror favourite Lin Shaye has a walk-on role as an expert on the occult, but it’s not very well handled and feels like an inept attempt to raise the film’s profile by leeching off her Insidious fame. At least I’m reasonably confident that I’m going to forget all of Dreamkatcher within days.

  • Alone in the Dark (1982)

    Alone in the Dark (1982)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, September 2020) Coming at the tail end of the 1979–1982 slasher craze, Alone in the Dark definitely knew what it was doing in revolving around a handful of psycho killers escaping from an insane asylum during a power outage and targeting their psychiatrist. Quickly shifting to home-invasion thriller, the film clearly upholds the tropes of the subgenre, and doesn’t care much about narrative cohesion. The biggest draw of the film, even today, is a cast that throws in Jack Palance, Donald Pleasence and Martin Landau together as psychiatrists and psychopaths. (Elsewhere in the film, Lin Shaye has an early brief role.) Better executed than average by writer-director Jack Sholder, Alone in the Dark does, however, remain a first-wave slasher—interesting if you’re into the whole psychopaths-with-knives thing; otherwise not very much.

    (Second Viewing, On Cable TV, January 2021) Not remembering my first viewing, it took me a few false starts before I was able to make it (again) through Alone in the Dark. Either I stopped midway through, or I left it running while I was doing something else and realized by the end of it that I was never compelled to follow what was happening. When I finally sat down to watch with (mostly) undivided attention, I’m not sure I got much more out of it. The first half-hour does have something worth paying attention to: As a psychologist takes residence at an insane asylum, he has trouble connecting to a close-knit foursome of violent criminals, who blame him for the death of their previous psychiatrist. When a power outage strikes, they soon escape and head for his residence. The rest of the film, alas, is more or less a home-invasion thriller, albeit with a twist that can unfortunately be seen (or rather not seen) from the very introduction of the antagonists. If there’s any reason to watch the film, it’s probably for the casting of a few familiar actors: Jack Palance, Martin Landau and Donald Pleasence all have substantial roles here, with none other than Lin Shaye (who finally achieved horror stardom three decades later!) making a short appearance early in the movie. Alone is the Dark does work well in its execution, but it does boil down to a very average early-1980s horror film. That may not sound like much (it partially explains why I didn’t even remember seeing the film a few months ago), but it’s slightly more interesting than the omnipresent slashers of that time.

  • Critters (1986)

    Critters (1986)

    ByChristian Sauvé Movie Review

    (In French, On Cable TV, April 2019) In the mid-1980s, you couldn’t swing a bag of popcorn without spilling some on high-concept horror movies that ended up spawning multiple sequels. As one such horror/Science Fiction hybrid, Critters starts out being a bit more ambitious than your usual creature feature, what with intergalactic bounty hunters hunting down tribbles carnivorous pests so that they don’t take over the world. But budgetary constraints quickly show up, as most of the action takes place in a Kansas farmhouse. While there are a few familiar names in the credits (Lin Shaye, Dee Wallace, M. Emmet Walsh), the most distinctive thing about Critters is its lack of distinction. If you’re looking for the median 1980s horror monster film with practical creature effects, this may be the one: not too depressing, not too funny, not too impressive but not too cheap either. The science fiction aspect does add a bit to it, but it’s a wonder as to why there were so many sequels. Oh well—you can do worse than watching the first one.

  • Insidious: The Last Key (2018)

    Insidious: The Last Key (2018)

    ByChristian Sauvé Movie Review

    (On Cable TV, January 2019) There’s something almost endearing in the way that the Insidious horror franchise has doubled upon itself to focus on a character played by an elderly woman. Once again in Insidious: The Last Key, Lin Shaye truly stars in as a psychic medium in this prequel instalment showing us a previous big case, one with very personal implications in the grand tradition of horror series making sure that every single detail of its mythology has been cross-referenced against their character’s biography. By the end, it all leads straight back to the first film of the series like clockwork, because these are movies rather than TV show episodes, right? If you sense dripping sarcasm, it’s largely because this Insidious feels like the series has grown content to simply going over the same familiar landmarks once more. We’re filling smaller and smaller holes in a backstory that didn’t need any backfilling, and it’s become more claustrophobic than entertaining. Under director Adam Robitel, the scares are strictly routine, and the story’s few highlights aren’t enough to push back the impression of encroaching deja vu. Shaye remains a highlight, and there are some good moments in the interactions that she has with her two sidekicks … but the point of the movie is having another hit of what worked so well in the first film of the series no matter if it becomes steadily less impressive. Let the series go, producers. It’s run its course.

  • Insidious: Chapter 3 (2015)

    Insidious: Chapter 3 (2015)

    ByChristian Sauvé Movie Review

    (On Cable TV, February 2016) The first Insidious was a welcome throwback to straightforward horror; the second one kept some of the thrills but presented a much duller result. With this Insidious: Chapter 3, however, we’re well into the logic of diminishing returns. The first warning sign is that it’s a prequel, forced to go back in time in order to keep Lin Shaye’s character alive and kicking. What we laboriously discover is that this third Insidious is meant to show how the demon-hunting team came together: No one apparently stopped to consider whether we cared. It’s not as if the nuts-and-bolts specifics of this third film’s plot actually matter a lot: Insidious 3 is routine even by horror standards, and has almost entirely dismantled what made the first-and-a-half Insidious so special. I forgot good chunks of the plot mere days after seeing the film even as I can still quote chunks of the previous instalments. Lin Shaye is good as the lead demon hunter, even if the rest of the film is unremarkable. But whoever expected a third instalment in a horror series to be actually any good?

  • Insidious: Chapter 2 (2013)

    Insidious: Chapter 2 (2013)

    ByChristian Sauvé Movie Review

    (On Cable TV, October 2014) The horror genre has a long history of great films leading to so-so sequels, and Insidious 2 is now part of that tradition.  Insidious made a mark partly by being one of the first good American horror movie in a while that wasn’t trying to rely on found-footage tropes, and it heralded a number of similar or better movies in its wake, from Sinister to The Conjuring.  Still, it wasn’t without its flaws, and this sequel seems to dwell at length on those less successful aspects while throwing in a number of old clichés.  Oh, so a cross-dressing serial killer is the big bad guy of the series?  Let me get my fainting salts.  In overall impact, Insidious 2 cranks down the dial from Good to Average with far more conventional thrills and a familiar formula.  (Keep in mind, though, that the titular “Chapter 2” is there for a reason: this is absolutely not a stand-alone sequel, and it is best seen immediately after the first film.)  There are still plenty of things to like –including going back in time to explain goose-bumps from the first film, acknowledging its own absurdity with a well-placed “So that’s what it was all about”, an effective jump-shot explaining what the phantom piano-playing meant, and finding a more-than-adequate younger counterpart for Lin Shaye in Lindsay Seim.  Shaye once again steals the spotlight during her short appearance, while Patrick Wilson and Rose Byrne do what is expected of them (though Wilson has a harder dual role to manage).  Meanwhile, director James Wan continues to perfect his technique: this follow-up is a bit less blunt in its scares than its predecessor.  By the time the shock-ending title card rolls around, we’ve seen enough to be entertained, but not quite enough to be impressed: Insidious 2 gets credits for being an acceptable follow-up, but it’s far more ordinary that it should have been.

  • Insidious (2010)

    Insidious (2010)

    ByChristian Sauvé Movie Review

    (On DVD, October 2014) Having missed Insidious in theaters, then on DVD, then on Cable TV even as its reputation grew as a good example of recent American horror, I found myself playing catch-up late at night, finally finding out for myself was the fuss was about.  As it turns out, Insidious isn’t too bad, but director James Wan’s follow-up The Conjuring is a bit better and thus retroactively colors Insidious‘ impact.  Both movies have similar starting points, with families in new houses being imperilled by demonic forces and semi-professional helpers coming to help them.  But it’s the execution that counts, and while The Conjuring did well with a soft-spoken acceleration of horrors, Insidious is quite a bit blunter in how it marks scares with big musical stings.  Much of the first hour feels conventional, as innocent people (and audiences) are progressively spooked by strange happenings.  But there are hints that something weirder is at play, and by the time the last half-hour moves from haunted house to possessed bodies to astral travel, Insidious becomes interesting in ways that most horror movies third acts usually don’t.  Still, that final half-hour is also in many ways the silliest, as the film’s ambitions run against its budget, and the literalization of some metaphors (coupled with a more frenetic rhythm) doesn’t quite work as intended.  Once the monster is to be shown, part of the mystique disappears.  Still, it’s quite a bit better than your average horror movie, and it benefits from a couple of good performances: Patrick Wilson is fine as the everyday-man protagonist with a secret, while Rose Byrne delivers exactly the expected as the suffering wife, but it’s really Lin Shaye who steals the spotlight as a paranormal expert who knows far too much.  Effective scares and jumps and creepy hints all cleverly pepper the film, and the result is enjoyable.  Still, in retrospect Insidious may be most noteworthy as a bridge to other better films, from Sinister to The Conjuring.