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New ‘Insidious’ Sets Up New Horror “Universe”?

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Insidious 6

It’s sort of crazy that when you think of James Wan you think of The Conjuring and Fast 7, when people really should be bowing for films such as SAW and Insidious, not to mention Dead Silence and Death Sentence.

With Insidious, franchise wasn’t the plan, but it was such a huge success that it spawned two sequels, the next (directed by writer and star Leigh Whannell) in theaters June 5, 2015.

Whannell spoke to EW about the third film, starring Lin Shaye, where he reveals that it sets up an entire new universe (the new buzzword since The Avengers) for the film.

Related Article: [Set Report] We Visited the Filming of ‘Insidious Chapter 3′

“This third film really sets up the Insidious universe to go on, if it was successful enough,” says the filmmaker, who also plays the Elise-assisting Specs in the horror series. “Now you have Elise, the central character, as a medium, and she has her two kind of bumbling assistants, and you have all these years between the third film and the first movie: You’ve got 2009, 2010. Great years! I can imagine [it] being set up as almost a James Bond-esque franchise where Elise goes into different situations with different families, and is fighting or defeating these different demons. As far as it actually happening? I’m not sure yet. I’m actually quite superstitious about films [before they are] released. I always have been, but that’s gone into overdrive now I’m a director.”

The prequel to James Wan’s Insidious, set before the haunting of the Lambert family, reveals how gifted psychic Elise Rainier (Lin Shaye) reluctantly agrees to use her ability to contact the dead in order to help a teenage girl (Stefanie Scott) who has been targeted by a dangerous supernatural entity.

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‘Corpus’ Review: A Seductive Slow-Burn Erotic Thriller With a Supernatural Twist [Fantasia 2026]

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Corpus Review

Director Corrin Evans‘ sweaty, immersive voyage back to the ’90s deftly bypasses nostalgic pastiche thanks to strong form and vision in his feature debut, Corpus. Evocative of 1998’s High Art in indie attitude, style, and themes, Corpus so effectively pulls you into its brooding vision of identity and intimacy that its supernatural elements become almost an afterthought in this slow-simmering psychological thriller.

Evans, who co-writes with Lily Cowles, opens Corpus with a discomforting attention grabber that sees a young woman, Wren (YellowjacketsNuha Jes Izman), put in an increasingly awkward, then disturbing position at a professional photo shoot. The scene abruptly cuts right at the cusp of sexual violence, setting in motion the overarching mystery that protagonist Sayo (Jeff Wahlberg) slowly discovers he’s been pulled into.

Corpus introduces Sayo as an aspiring photographer with an eye for composition, but one who scrapes by in New York City dealing drugs at nightclubs. His quiet routine gets upended with the return of Vince Marlowe (Brodie Townsend), a star on the rise and Sayo’s longtime crush. Vince convinces Sayo and their mutual pal Ross (Michael Vlamis) to accompany him to an exclusive party hosted by his affluent photographer friend Billie (Lily Cowles). Instead of a bustling gathering filled with prominent guests, though, Sayo is surprised to arrive at an isolated estate deep in the woods, with only Billie, Billie’s strange friend Cata (Ching Valdes-Aran), and Wren to greet them.

It’s the type of bait-and-switch that should set off warnings within Sayo, but his unresolved feelings for Vince override his sense of survival as the strange behaviors grow more sinister over the weekend.

Sayo’s loneliness becomes the epicenter for Evans’ sensual examination of modern relationships, intimacy, and gender norms. As such, Corpus favors slow simmering, sensual unease as Evans dials into the push and pull among its central relationships. More acutely, Sayo’s deep confusion takes center stage as he tries to navigate his perplexing dynamic with the object of his desire. Vince runs hot and cold. Flirtations and advances are sometimes encouraged, sometimes rejected. Not helping is the bizarre dynamic between Billie and her mysterious “friend” Cata. Or Wren’s new feral persona, a far cry from her timid opener.

Fixating so thoroughly on the intricacies of Sayo and Vince’s will-they-won’t-they adds meaty thematic depth, a haunting depiction of loneliness leaving someone vulnerable to different forms of manipulation. It’s here where Evans slowly, ever so slowly, layers in hints of horror. Sensuality and relationship drama take center stage, and while Evans’ strong grasp of form makes for a compelling watch that holds you firmly in its grip, its middle section is prone to pacing lulls. 

So much so that by the time Corpus is ready to reveal its sinister horror surprise, it feels almost too little too late. The disorienting nature of desire and intimacy gives way to a full-throttle home invasion that lays all intentions bare and finally unmasks its horror, but it comes in a frenzied rush that can’t wait to conclude Sayo’s erstwhile romantic pursuits. 

The restrained horror does frustrate in the wake of the film’s potent cold open, raising the expectation for a more energetic journey that never fully arrives, but what it lacks in supernatural scares it makes up for in style and atmosphere. Wahlberg makes for a complicated, sympathetic lead as the vulnerable romantic struggling to find his place in the world, let alone whether he’s destined for love or the friendship zone. The ’90s setting doesn’t just remove the pesky problem of smartphones when trouble arises; it lets Evans play with form and incorporate photography techniques that raise visual interest. Even the music adds rich texture. It all makes for a stylish debut with a strong voice at the helm, but it never pushes far enough into erotic thriller or horror territory to fully unsettle. 

Corpus made its premiere at the 2026 Fantasia International Film Festival. Release info TBD.

3.5 out of 5

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