Monica (Stephanie Leet) and Andre Duvalier (Neil Green) are a couple with a less than perfect relationship. They decide to move to the country, a chance to get away and start over, however there are things about their relationship that they bring with them.

Andre isn’t exactly the most supportive husband, always telling Monica that he knows best and basically making her feel less than worthless and their break isn’t helping. Little do they know though, but there’s a vengeful spiritual presence in the house which wants to put things right.

Insidious Inferno is a supernatural horror written and directed by Calvin Morie McCarthy which has all the trappings of a typical horror of its type. Perhaps taking some influences from Hereditary, it shows how the curiosity of its female lead can put her in trouble.

The problem is though, that like Hereditary, it does feel like Insidious Inferno may have a pacing issue. That’s because despite its running time of just over ninety minutes, it feels much longer. Whereas horror movies may move along slowly to build the tension, it feels like Insidious Inferno is stringing out its story because it hasn’t got far to go.

In fact, it takes a while for anything remotely insidious to happen, besides talk of ghosts and murders that happened off screen. The issue of having to stretch the story is particularly evident as when Andre sees a ghostly blind woman out in the open, it takes him a while to even address the issue with somebody.

There’s also the problem of having a male protagonist in a horror movie. Whereas it does subvert expectations as men are rarely the victims in horror, it does run the risk of making the audience sympathise with Andre despite his abhorrent behaviour.

Insidious Inferno does indeed have a unique story and it shows its influences from other movies, perhaps even other franchises to give the audience an idea of what to expect. However, the story isn’t strong enough to sustain the its length and despite some interesting visuals, it may bore the audience waiting for the inevitable bloodbath of a final act.

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