What. In. The. Actual. Fuck. James Wan’s flick opens up at a research facility back in ‘93 where someone named Gabriel is being experimented on due to his telekinetic powers and deformity. Well, we quickly realize that little Gabriel ain’t exactly mentally healthy and a bunch of folks meet some messy ends thanks to the super-powered little beast. The present day hits and we’re introduced to the pregnant Madison Mitchell, returning home from work to her shitty husband Derek. He brings up her prior miscarriages when she turns off the UFC he’s watching and when she stands up for herself he bangs her head into the wall. Needless to say, we aren’t shedding any tears when a supernatural stranger breaks into their house that night and violently dispatches the abusive piece of shit. Madison is also attacked by whatever the hell is in her house but she fares better than her husband, ending up in the hospital as a couple detectives try to make sense of the crime scene. Waking up to the news that her husband and unborn daughter are no longer in her life, Madison has a breakdown. Her lovable sister is around to help and offers to let her been-through-the-ringer sibling stay with her but Madison insists on going home. Well, the nocturnal visitor comes back and possible paranoia slips into the forefront. Guess who was adopted and guess how that binds her to the deformed telepathic madman working on a revenge scheme. Madison gets psychic visions of the murders, the disbelieving detectives get involved, quirky side characters get some love, Patricia Velasquez (“I love Marta”) gets some screen time, the awesomely-named detective Kekoa Shaw gets closer to the truth, the killer gets his own signature weapon and James Wan gets a standing ovation for the wild ride he just took me on. Some iffy cgi and so-so performances detract a little but this shit is silly throughout and the climax fits with the reveal in how fucking bonkers it is. Insidious-style supernatural shenanigans play out, giallo-inspired plotting turns everything around, nasty yet polished violence slaps the viewer back to reality, it’s true slasher film heart is revealed and reminders of Wan’s past exploits pop up everywhere through audio and visual techniques. I’m not sure what the hell James Wan was going for in this hearty stew of ridiculous but I’ll gladly come back for seconds.
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