For two nights in a row, I exited a movie theater supremely disappointed in the latest incarnations of two franchises whose history has given me a memorable (and in one case classic) lineage. "Insidious: The Red Door" and "Indiana Jones and the Dial of Destiny" pretty much broke my heart. From where both of these franchises started to the dregs of where they are now, I began to wonder if the fault lies with my old-man-screaming-at-clouds disillusion with the Hollywood project. With "Indiana Jones and the Dial of Destiny", I could feel my heart shrinking into my chest within the first 20 minutes of an elongated action sequence that sees Jones (Harrison Ford, right digitized and de-aged) spring about Nazi castles, trains, and motorcycles as if he's trying out for the latest Marvel film. Add to the fact that director James Mangold's fifth iteration of the Indiana Jones franchise looks so murky and tactless, and it quickly became a recipe for immense dissatisfaction. Granted, I slowly warmed to the film as it went along, but with each larger set piece and a finale that dares to actually visualize the metaphysical nuances that made "Indiana Jones and The Last Crusade" so enthralling as young teen, it's an entry in a vaulted series of films that I will most assuredly never re-visit.
The hatred of Patrick Wilson's "Insidious 3: The Red Door" came more incrementally. For the first 30 minutes, the fourth installment of the James Wan/Leigh Whannell horror series establishes the anemia of its father-son relationship between Wilson and college-bound son Dalton (Ty Simpkins) as both struggle with the slow release of the pent up horrors of their past (through hypnosis) that eventually sees them both re-enter "the further" for more terrifying shenanigans. There are some creepy corner-screen movements that set the stage for something grand, however, the scares are ultimately neutered by the very bland performances and unremarkable scares. As the film progresses, it becomes clear that "Insidious: The Red Door" is content to create fan fiction (complete with shoehorned cameos by Lin Shaye, Angus Sampson and Leigh Wannell) and serve as greatest hits for a franchise that began with a shrieking sense of old school horror and a demented, go-for-broke mentality. None of that exists in the latest film.
Looking at both films and the wonderful filmic parents that spawned them, what went wrong? Granted, this is just my rhetorical question as I'm sure both films have their admirers.... although most of the accolades I've seen for "Indiana Jones and the Dial of Destiny" range from "well, it's better than Crystal Skull" and "fun!". Ever since its premier at the Cannes Film Festival in May, Mangold's latest Indiana incarnation has mostly been met with subdued murmur. In my heart of hearts, I wanted to love both films. And since I was lukewarm on "Insidious 3" and could see the film getting further and further away from the genuine terror evoked by the first two "Insidious" efforts, I suppose my greatest frustration lies with "Indiana Jones and the Dial of Destiny".... which also has strayed into a netherworld of CGI confusion and murkiness so far removed from the practical excitement of the first three Indiana Jones films that its tired set pieces play like a video game without physics or sensibility. Each action scene- its opening, a ride on a horse through the New York subway, a cart chase in Morocco- rely on so much wham-bam CGI green screen effects that they remove all heart and emotion from a series that once proudly succeeded on mixing true heroic characterizations with bracing, exuberant, practical adventures. I know this type of film is still hopeful in Hollywood, but both "Indiana Jones and the Dial of Destiny" and "Insidious: The Red Door" make the case that we're getting further away from replicating (or even marginally extending) the simple joys of what made these franchises so enjoyable long ago.