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There’s an affability between Wilson and the players, many of whom he’s had relationships with for two decades. (“I feel very much as if I’m one of them,” he said in an interview later.) “We want to be in that very demanding, high-achieving environment, where most of us, 90 percent of the time, feel like we’re impostors. Wilson aims “for a different kind of homogeneity,” Mills said. “There’s plenty of sizzling vibrato,” said Charlie Lovell-Jones, another leader of the orchestra, making “a sound you can chew.”
Persons: There’s, Wilson, he’s, , tersely, ” Wilson, William Walton’s, “ John, John Mills, , ” Mills, Mills, Charlie Lovell, Jones Organizations: Sinfonia, London
“Insidious,” whose fifth installment opened Friday, is a second-tier horror franchise — it’s not even the best James Wan franchise starring Patrick Wilson, which would be “The Conjuring” — with a few elite jump scares, including one of the best in the genre. In the original in 2010, Lorraine Lambert (Barbara Hershey) is telling her son, Josh (Wilson), about a horrible dream when a red-faced demon suddenly appears behind his head. It’s a magnificent shock because of the askew blocking, the patient misdirection of the editing and Hershey’s committed performance. In “Insidious: The Red Door,” a grim, workmanlike effort that collapses into woo-woo nonsense, Wilson makes his directorial debut, and demonstrates he grasps the importance of that jump scare, which is sketched in charcoal on paper next to his name in the opening credits. This prickly relationship is at the center of the movie, as dad drives his son to college.
Persons: it’s, James Wan, Patrick Wilson, Lorraine Lambert, Barbara Hershey, Josh, Wilson, askew, Hershey’s, Lorraine, Wilson doesn’t, Dalton, Ty Simpkins
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