Patrick Wilson
17 connections found
Filmography
View:
Connections, in both directions
The whole film reminded me of “Poltergeist”, with it’s trips into the astral world, not helped by the fact that Patrick Wilson bears an uncanny resemblence in my eyes to Craig T. Nelson who played the father in that film.
Si bien Wilson pretende contentar a los fans introduciendo cameos de personajes queridos como la psíquica Elise Rainier (Lin Shaye) y el dúo de investigadores paranormales, Specs (Whannell) y Tucker (Angus Sampson), lo cierto es que la saga nunca pudo salir del marco ya agotado del acoso fantasmal familiar de Poltergeist (1982), de Tobe Hooper, el padre en proceso de enajenación de El Resplandor ( The Shining , 1980), opus de Stanley Kubrick, las posesiones diabólicas símil El Exorcista ( The Exorcist , 1973), de William Friedkin, y algo de aquella extraordinaria parafernalia asociada a la Trilogía de las Puertas del Infierno de Lucio Fulci, nos referimos por supuesto a Miedo en la Ciudad de los Muertos Vivientes ( Paura nella Città dei Morti Viventi , 1980), El Más Allá ( E tu Vivrai nel Terrore!
The Shining (1980)
Directed by Stanley Kubrick
influenced Insidious: The Red Door (2023)
Visuals Themes
He looks like Jack Nicholson in “The Shining,” and the comparison is not incidental.
Si bien Wilson pretende contentar a los fans introduciendo cameos de personajes queridos como la psíquica Elise Rainier (Lin Shaye) y el dúo de investigadores paranormales, Specs (Whannell) y Tucker (Angus Sampson), lo cierto es que la saga nunca pudo salir del marco ya agotado del acoso fantasmal familiar de Poltergeist (1982), de Tobe Hooper, el padre en proceso de enajenación de El Resplandor ( The Shining , 1980), opus de Stanley Kubrick, las posesiones diabólicas símil El Exorcista ( The Exorcist , 1973), de William Friedkin, y algo de aquella extraordinaria parafernalia asociada a la Trilogía de las Puertas del Infierno de Lucio Fulci, nos referimos por supuesto a Miedo en la Ciudad de los Muertos Vivientes ( Paura nella Città dei Morti Viventi , 1980), El Más Allá ( E tu Vivrai nel Terrore!
You can see Wilson’s influences, from The Sixth Sense (a frat ghost caked in vomit is reminiscent of Mischa Barton’s jump scare in Shyamalan’s film) to Kiyoshi Kurosawa (ghosts slowly creeping their way toward the camera in the background are reminiscent of Pulse, Cure, and Retribution).
The Sixth Sense (1999)
Directed by M. Night Shyamalan
influenced Insidious: The Red Door (2023)
Visuals
You can see Wilson’s influences, from The Sixth Sense (a frat ghost caked in vomit is reminiscent of Mischa Barton’s jump scare in Shyamalan’s film) to Kiyoshi Kurosawa (ghosts slowly creeping their way toward the camera in the background are reminiscent of Pulse, Cure, and Retribution).
Si bien Wilson pretende contentar a los fans introduciendo cameos de personajes queridos como la psíquica Elise Rainier (Lin Shaye) y el dúo de investigadores paranormales, Specs (Whannell) y Tucker (Angus Sampson), lo cierto es que la saga nunca pudo salir del marco ya agotado del acoso fantasmal familiar de Poltergeist (1982), de Tobe Hooper, el padre en proceso de enajenación de El Resplandor ( The Shining , 1980), opus de Stanley Kubrick, las posesiones diabólicas símil El Exorcista ( The Exorcist , 1973), de William Friedkin, y algo de aquella extraordinaria parafernalia asociada a la Trilogía de las Puertas del Infierno de Lucio Fulci, nos referimos por supuesto a Miedo en la Ciudad de los Muertos Vivientes ( Paura nella Città dei Morti Viventi , 1980), El Más Allá ( E tu Vivrai nel Terrore!
Wan drew on movies like the great oddball 1962 indie chiller “Carnival of Souls” to create a film that coaxed its fear out of the poetry of horror-movie faces.
A review, for those that haven’t seen the film: Dalton encounters an entity in the attic of the family home and goes into a coma, but is truly trapped in a realm past life and death called The Beyond , err, The Further.
Created by Leigh Whannell (who also worked on Saw and Dead Silence with Wan and directed the underappreciated Upgrade ), the first two films center on Josh and Renai Lambert (Patrick Wilson and Rose Byrne) and their children Dalton, Foster and Cali.
The Aussie filmmaker has gone off to bigger and better things with Upgrade and The Invisible Man .
Nada nos podría haber preparado -ni siquiera el periplo algo errático de un Whannell que justo después de La Noche del Demonio 3 entregaría dos verdaderas joyas en calidad de realizador, Upgrade (2018) y El Hombre Invisible ( The Invisible Man , 2020)- para la lamentable La Noche del Demonio: La Puerta Roja ( Insidious: The Red Door , 2023), un trabajo rutinario y para nada inspirado que comete el mayor pecado posible tanto dentro del cine mainstream contemporáneo como en lo que atañe al terror en especial, léase aburrir al público, ya no sólo de la mano de un catálogo de “jump scares” dignos de un manual para espectador de jardín de infantes sino además por escenas innecesariamente larguísimas que caen en múltiples redundancias, diálogos aletargados, situaciones ultra trilladas y una falta de novedad o suspenso verdadero que resulta exasperante a medida que los interminables 107 minutos desfilan por la pantalla, todo gracias a un Patrick Wilson que se encaprichó con dirigir, aquí de hec…
These are the elements that “Insidious” elevated (and that Ari Aster sprung “Hereditary” from), but depending on their design and execution they can be spooky — or banal — as hell.
The screenplay was written by Scott Teems ( Halloween Kills ) based on a story by the aforementioned Leigh Whannell ( The Invisible Man ; Saw ).
The Aussie filmmaker has gone off to bigger and better things with Upgrade and The Invisible Man .
Nada nos podría haber preparado -ni siquiera el periplo algo errático de un Whannell que justo después de La Noche del Demonio 3 entregaría dos verdaderas joyas en calidad de realizador, Upgrade (2018) y El Hombre Invisible ( The Invisible Man , 2020)- para la lamentable La Noche del Demonio: La Puerta Roja ( Insidious: The Red Door , 2023), un trabajo rutinario y para nada inspirado que comete el mayor pecado posible tanto dentro del cine mainstream contemporáneo como en lo que atañe al terror en especial, léase aburrir al público, ya no sólo de la mano de un catálogo de “jump scares” dignos de un manual para espectador de jardín de infantes sino además por escenas innecesariamente larguísimas que caen en múltiples redundancias, diálogos aletargados, situaciones ultra trilladas y una falta de novedad o suspenso verdadero que resulta exasperante a medida que los interminables 107 minutos desfilan por la pantalla, todo gracias a un Patrick Wilson que se encaprichó con dirigir, aquí de hec…
As someone who mainly loves either drive-in era movies, foreign horror or films out to test the audience’s gag reflex with a torrent of upsetting scenarios and body decimation, it took some time for me to begrudgingly respect the ghost and possession cycle of James Wan, starting with 2010’s Insidious , followed by 2013’s The Conjuring and then alternating each year or so between these franchises.
The concept here of getting the original cast back together again from (what seems to be regarded by fans as) the last of the decent “Insidious” films was a good concept.
Josh Lambert (Patrick Wilson), the father from the first two “Insidious” films (this one is number five), has just dropped his son off for his freshman year at college.
The one novel aspect of The Red Door is that Dalton Lambert, first played by a nine-year-old Ty Simpkins in James Wan’s Insidious (2010), is the protagonist of the new film (still played by Simpkins) and is now sporting five o’clock shadow.
Taking place nine years after the traumatising events of James Wan’s masterwork Insidious: Chapter 2 , Josh and Dalton Lambert may have temporarily been stripped of all memories regarding the harrowing circumstances of the first two instalments, yet these wounds appear to stay etched in for a lifetime.
It all adds up to a vaguely diverting but forgettable slice of horror, one that quite simply moves too slowly to ever grab you like, say, the recent Evil Dead reboot did.
Often compared with The Conjuring — the other horror franchise co-created by James Wan and starring Patrick Wilson — the Insidious film franchise is its lower-budgeted and less revered film series sibling.
As someone who mainly loves either drive-in era movies, foreign horror or films out to test the audience’s gag reflex with a torrent of upsetting scenarios and body decimation, it took some time for me to begrudgingly respect the ghost and possession cycle of James Wan, starting with 2010’s Insidious , followed by 2013’s The Conjuring and then alternating each year or so between these franchises.
(He plays one character in the Insidious franchise, and another in The Conjuring movies and their assorted sequels and spin-offs.)
Still, we’re here for the scares the situation provides, and Wilson has been on scary sets long enough ( The Conjuring and its two sequels) to know how to creep an audience out.
Wan has mentored many of the filmmakers in The Conjuring franchise as well, which also stars Wilson in a leading role.
Similar to Wan’s The Conjuring universe, Insidious has long overstayed its welcome, reaching the point where its spark has quelled and there’s nothing interesting buried within these characters anymore.
Created by Leigh Whannell (who also worked on Saw and Dead Silence with Wan and directed the underappreciated Upgrade ), the first two films center on Josh and Renai Lambert (Patrick Wilson and Rose Byrne) and their children Dalton, Foster and Cali.
The creative duo had tried to birth another original horror hit with 2007’s Dead Silence but lost out to studio interference.
Up until then, director James Wan and long-time writing partner Leigh Whannell were only known for creating and overseeing the highly-successful Saw franchise.
Created by Leigh Whannell (who also worked on Saw and Dead Silence with Wan and directed the underappreciated Upgrade ), the first two films center on Josh and Renai Lambert (Patrick Wilson and Rose Byrne) and their children Dalton, Foster and Cali.
The screenplay was written by Scott Teems ( Halloween Kills ) based on a story by the aforementioned Leigh Whannell ( The Invisible Man ; Saw ).
Back in 2010, “Insidious” was directed by James Wan, who was best known as the director of “Saw” (he has since done the “Conjuring” series, “Furious 7,” and “Aquaman”).
After all, he managed to get both the Jigsaw figure from Saw in the first Insidious movie and the Annabelle doll featured at the bottom of the ocean in Aquaman (2018).
The Taking of Deborah Logan (2014)
Directed by Adam Robitel
influenced Insidious: The Red Door (2023)
La saga que empezó con La Noche del Demonio ( Insidious , 2010) y continuó con La Noche del Demonio 2 ( Insidious: Chapter 2 , 2013), dos trabajos muy disfrutables dirigidos por James Wan y escritos por Leigh Whannell, parecía haber alcanzado su punto más bajo en aquella deslucida tercera parte, La Noche del Demonio 3 ( Insidious: Chapter 3 , 2015), a cargo del propio Whannell en modalidad director, porque el cuarto eslabón, La Noche del Demonio: La Última Llave ( Insidious: The Last Key , 2018), nuevamente con un guión de Leigh aunque ahora con dirección de Adam Robitel, éste conocido por La Posesión de Deborah Logan ( The Taking of Deborah Logan , 2014), Escape Room: Sin Salida ( Escape Room , 2019) y su también horrenda secuela del 2021, había levantado un poco el espectro cualitativo de una franquicia ya de todos modos muerta o sin nada valioso para decir o sin novedad alguna en el horizonte retórico que justifique la montaña rusa de sustos y gritos.
It’s intriguing that Wilson didn’t succumb to a copycat version of Insidious or Insidious: Chapter 2 with The Red Door, and unfortunately a jumbled, underdeveloped script thwarts him from the film reaching its full potential.
Picking up nine years after the events of Insidious: Chapter 2 , we find our protagonist, Josh Lambert (played by Patrick Wilson), grappling with repressed memories of The Further , that enigmatic, blue-hued ghost realm beyond our own.
Now here comes the 5th in the series, and (intriguingly) we pick up effectively where “Insidious: Chapter 2” left off in 2013 with the same characters and indeed the same cast!
After the events of Insidious: Chapter 2 , Josh Lambert (Patrick Wilson) and his son, Dalton (Ty Simpkins) have their memories erased of Dalton’s coma, Josh’s possession, and suppressing their powers.
Wilson co-stars in “Insidious: The Red Door,” as well as the first “Insidious” movie (released in 2010) and 2013’s “Insidious: Chapter 2.” The other previous movies in the series are the prequel “Insidious: Chapter 3” (released in 2015) and 2018’s “Insidious: The Last Key.”
A direct sequel to 2013’s Insidious: Chapter 2 , INSIDIOUS: THE RED DOOR is set a decade after the second film.