The movie storms theaters in 2017. It continues the story of parapsychologist Elise Rainier, portrayed by Lin Shaye, as she faces her own demons from her traumatic childhood. However, the movie is criticized for flaws in its timing, pacing, and narrative due to disastrous writing and the franchise being handed to inexperienced directors. Entrusting a major franchise to a newcomer like Adam Robitel, an Emmy-nominated producer and editor but inexperienced filmmaker, results in a movie that lacks intensity and fails to refresh the franchise.

1. The movie storms theaters in 2017. Elise Rainier, the outstanding parapsychologist portrayed by
the already legendary actress Lin Shaye, continues in her hunting task, overthrowing spirits,
creatures or any evil entity that attacks homes, families or people with ferocity. However, she
will face her own demons, those that have repeatedly harassed her since her traumatic childhood.
In 365movies there will be a lot of good movies for you.
It's appropriate to clarify that since the franchise determined to give Elise a prominent role, the
story-plot has run from back to front, ie, the inaugural movie turns out to be the latest approach
to the life of the brave parapsychologist, thus moving through the third one and now "The Last
Key". Such a narrative disarray reveals the overambitious desires of producers and investors for
extracting to the last feather this golden hen that, one day, treasured the requirements to be
established as one of the best horror sagas of the new millennium.
Despite the pic exhibits flaws here and there regarding timing, pace, narration, editing, artistic
complex and performance level, each of these is strongly stirred up by two terribly nugatory
triggers. The first one, without hesitation, is the disastrous writing process. Even though the
storylines have been propelled by the characters created by Leigh Whannell, the first two films
enjoyed Wan's endorsement and protection, evincing the insightful skills of the filmmaker to
form nerve-racking situations, however, it's curious to detect that the progressive fading of the
franchise begins at the moment that the Malay only credits as a co-producer, a fact that gave his
buddy full freedom to write and even direct new stories over his creations, a deadly mistake. The
Australian actor and screenwriter claimed to have found the ideally respectful way to re-enter the
world of "Insidious", the key: a new leading role. However, his assertions are false by realizing
that he has shattered to exhaustion a fictitious universe that had promising possibilities, full of
ways to build moments of genuine terror.To make matters worse, with "The Last Key", the
writer becomes an imminent danger to the franchise, he has not found a success either as a
director, as a writer or an actor, being one of the shameful members of the comical
hypercompetitive "ghost-hunting" couple. Have you seen November Criminals 2017?

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The movie storms
theaters in 2017[/caption]
Digging up the past of a character who, although is charismatic and one of the few strengths of
story, is already dead is not an evidence of overflowing originality or feasibility of
entertainment; piecing together events, by way of prequels, over the reconstruction of a
character's past doesn't bode good results for a genre film and so it is, Whannell's script tries to
moralize Elise by means of the mold of heroin with infinite lives and a logos that shames a
promising series of stories that, one day, was in the hands of groundbreaking minds. As for the
horror sequences, the main and possibly the only purpose for most audiences, the decline in
effectiveness is potentiated by cementing tension explicitly in jump-scares and unstoppable
crescendos confining it in the list of those films of apparent horror, not achiving scenes that
make moviegoers' hair stand on end is a big problem in this kind of film, likewise, it incredibly
gets even worse as there are two sequences in which it could deploy a creating tension process
moderately disturbing, just to be interrupted and abruptly disrupted by the incessant insertion of
contiguous scenes or a traditional horrible cheap scare, simply depressing. The screenplay is
another story.
If the audience goes to the laughter and not the lament to react to your film, there is something to
worry about. With thousands of indie films as supporting evidence, not always the most valuable
actors are those who perform interpretations for an award, however, in this film, although none
of them has a great recognition around the globe, no one can get the story off the ground, mainly
by the melodramatic and outrageously laughable lines of dialogue. In addition to tremendously
predictable situations and presumed resolutions, the speeches coming out from the mouth of the
actors instinctively provoke embarrassment, the lines are nefarious and the relations sketched
between the characters get close to it, you don't feel absolutely a drop of charm or connection,
you cannot get something possibly new or really positive about this lousy narrative work, a
hodgepodge that should never have the chance to be released.

3. Entrusting to a newcomer a franchise that was announcing its agony ultimatum is the other big
trouble. Adam Robitel is an Emmy-nominated producer who has to his credit more functions as
an editor and actor than as a filmmaker, it doesn't mean that he does not contemplate the
necessary know-how to make a triumphant flick, however, the fourth installment of the franchise
should have never ended up in his hands. The director is said to be the captain of the film boat,
it's also said that an audiovisual work reflects the vision of such filmmaker, namely, on his or her
shoulders lies the weight of the decisions that an idea must take here and there, this is why when
"The Last Key" screening is over, it seems alarming the difficulty of the novice director to
conceive an intense and refreshing complete pic, three missing epithets. While Robitel's
directional debut was the one that allowed him to be known through one iHorror Award ("The
Taking of Deborah Logan"), now he longs this one to be his springboard to ingress into the huge
monster Hollywood, however, his desires are unlikely. Devoid of any novelty point, the
American filmmaker's movie takes a false step for the horror genre, going from being
inadequately comical to intensely tedious.