But it is the film’s eerie sound design that is most impressive. Staub uses it as a weapon, keeping both the characters and the audience constantly discombobulated, and it is frequently impossible to know what each little creak in the floorboards, whistle of wind or crack of lightning signifies let alone where they might be coming from.
Hostiles isn’t an easy sit, the end resolution a cultural demolition that, no matter how pure the intentions of the survivors might be, could prove to be even more heinous than the violence they, their compatriots and those standing against them all faced in a cold, lonely wilderness where every step could be someone’s last.
But even if Gillespie and Rogers don’t go for the jugular, I still enjoyed much of what their truth is stranger than fiction real crime enterprise had to offer, and while I, Tonya doesn’t land a triple axel, it’s safe to say it doesn’t go splat face-first into the ice, either.
Insidious: The Last Key isn’t the worst but it also clearly isn’t the best, either. It just sort of rests tenuously in some sort of bland, easily digestible horror middle ground, and as such there’s little reason to hate the film even if I can’t exactly sing its praises.