It’s been 12 years since Patrick Wilson first began battling the forces of evil that keep friggin’ haunting him and his family. The Insidious franchise, which was James Wan’s proto Conjuring-verse exploration into the supernatural world of homeownership, is returning for another round of jump scares. And according to first-time director, and Moonfall star, Patrick Wilson, they will begin filming very soon.
When asked by ScreenRant if Insidious 5 was moving forward, Wilson confirmed, “We’re scouting locations now, and we start shooting in the spring.”
Insidious 5 will be Wilson’s first directing gig. However, while he may lack experience behind the camera, he’s already starred in three Insidious movies, three Conjurings, and an Annabelle, so he knows a thing or two about dealing with demonic entities.
For his part, the first Insidious was a breakthrough for everyone involved. Aside from being one of the most consistently scary and fun horror movies of the 2010s, Insidious has an absolutely killer cast, including Rose Byrne and Lin Shaye. There’s no official cast announced, but Collider reports, Wilson’s onscreen son Dalton, played Ty Simpkins, will return for the sequel. There’s no word if Shaye or that creepy, Tiny Tim-obsessed demon will as well.
The film reportedly focuses on Simpkins’ Dalton, the infamously possessed child who keeps leaving his body to wander the astral plane. Set 10 years after the original, it will follow Dalton at the beginning of college, which can only mean one thing: Toga! What? They already got the sheets. Halloween Kills scribe Scott Teems will write the sequel based on an idea from Insidious co-creator and star Leigh Whannell.
The last Insidious movie, 2018’s The Last Key, became the highest-grossing movie in the franchise, but not its best. Writing for The A.V. Club, Ignatiy Vishnevetsky gave the film a mostly negative review upon release:
Horror is the domain of fascinating subtexts, but there’s not much going on below the surface of The Last Key’s garbled screenplay, which adds subplots about child abuse, serial killers, and psychological trauma into the familiar mix of “don’t open that door”s and “it’s right behind you”s. The end result seems misguided at first glance, but, upon closer examination, doesn’t make a lick of sense. Perhaps that’s for the best.