There’s a certain energetic pulpiness to this film’s nasty streak that I haven’t seen in Wan’s other films; the quality is at best infectious and at worst a little too content in its own devices. It allows Wan to lean more heavily than usual into his excesses though, finding room in the material to stage a hypnotherapy session like a psychic séance and decorate a Seattle Underground chase scene with a lot of cobweb-riddled antiques. The comprehensive synthesis of genre horror history runs the expected spectrum of lurid primary colors to dingy stained grays as often as the score bounces from 80s throbbing synths to 2000s nu-metal licks but it’s mostly impressive in how the film explores its more outré ideas which is often missed from mainstream horror cinema and even much of Wan’s recent fare.