À l'intérieur

No doubt, Alexandre Bustillo and Julien Maury are skillful directors but what's way more dominant here is the visual experience. The team responsible for the lighting does an amazing job, perfectly complemented by cinematographer Laurent Barès, a name that will be worth paying attention to in the future. The real edge are the gore effects though. The make-up department simply outdoes itself, as far as I'm concerned, this is as good as it gets. Also the performances by the two leads don't leave any room for complaints. This truly is an exceptionally well executed movie.

Still, it didn't work for me. As a scriptwriter, director Bustillo leaves a lot to be desired. First off, the movie has next to no plot. The setup and the climax are suitable for a flick like this, but there is really not much in between, leaving you utterly uninterested in where this is going, or why it is not going anywhere at all, ever. Nor does Bustillo really try to produce any character development. The protagonist is a depressive, bad-tempered woman who doesn't care about anything (including the child in her womb, making it little more then a plot device for reduction of her mobility) and the fact that her agony is justified doesn't make her any more interesting as a lead either. The antagonist on the other hand has about one line of informative dialog all together. Nevertheless, the death toll is over the top as Bustillo mindlessly throws one puppet after the other into the blender to be slaughtered within minutes to seconds without ever giving us the slightest reason to shed a tear for them. They really are just sacks of blood wandering up and down a set of stairs before tearing open, spilling their content on the walls. If nothing else, this fact makes the movie feel like a film-school experiment concerning make-up effects.

Now watching the last shot, I can't deny, at this level, the visual experience does to some degree substitute for the lack of script. With all the gore, the seas of blood, the perfectly composed lighting and shots, the agonizing atmosphere and generally the direction itself the movie has a certain poesy about it, which probably was the directors goal.

Verdict.

If you are a rather sensitive person, the visceral stimulation might blow your mind and you won't care too much about a plot all together. If you are a fan of horror flicks, the movie really has the gore and some uniqueness going for it. "Experienced" audiences might feel a bit too much to be desired. Nevertheless, an interesting experience.

The French are having a bit of a horror renaissance on their shores right now it would seem. After Haute Tension stirred up a tremendous hype a few years back, films like Malefique, Them, and Frontieres are doing the exact same. But none of them have received the word of mouth that this brutal film has. Inside is a damn mean film. I think it goes too far in its excess, but that's what you have to do to shock an audience these days. And shocking it is. Can you imagine what the angry mob of parents that wanted to ban Silent Night, Deadly Night would think about Inside? If you've seen it, you probably can imagine. If you haven't, I suggest giving it a spin. The less I say about the movie, the more powerful the experience will be. Inside is a film I will most likely never watch again, because I'm sure I will never forget it.

A mother-to-be is menaced by a strange woman who traps her inside her own house. What does the stranger want? Why, her unborn baby, of course. This film received a great deal of praise from the horror community, but when I watched it shortly after it's U.S. DVD release, I didn't think it was worthy of any of it. Since I blind bought it back then, I figured I might as well give it another chance. Alas, this film didn't improve at all upon my second viewing. French horror seems to be all the rage among fellow genre fans these days, but where films like Haute Tension and Martyrs succeed at being more than envelope-pushing for the sheer hell of it, Inside fails miserably.

I'm a fan of Béatrice Dalle. She's fantastic in 37°2 le matin, and her menacing performance is easily the best thing about this film. To be frank, it's the only thing this mess has going for it. Alysson Paradis is the victim, but pregnant or not, the film didn't give me much of a reason to invest in her character. Clearly, this kills any potential suspense factor. Another suspense vacuum is the rampant idiocy on display here, most notably from the police. A cop's two partners just disappeared into a dark house where gunshots emanated from. Am I to believe that the moron would head into the house with his latest arrest handcuffed to his wrist, all without calling for backup? Then there's the thing with the circuit breaker, and it's just absurd. I also didn't care for the inside shots of the baby at all. I thought it was an awful idea, made all the more annoying by the obvious CGI and ridiculous expressions the baby would make. Was I supposed to be disturbed whenever this popped up? If anything, it was amusing that the directors thought this would work in any way, shape or form.

Now, onto the film's sole reason for existing... The gore effects are wet and brutal. They're not always convincing, but they're very graphic. And that's all there is to Inside. Honestly, this thing is basically just one big excuse for pushing the envelope with gore effects and attempted shock factor. There is no depth, no suspense, no scares... It's a revolting bore. I'm surprised by how well-liked it is. This belongs at the bottom of the barrel with other French drivel such as Sheitan and Frontière(s). The only true horror that comes from watching this is realizing that something so bad is actually being praised to the heavens.

... although the ones that follow aren't that shallow.

What would you do, a stranger's coming after you, just a day before you birth, with a rather heavy girth; finds a way into your home, from room to room she walks and roams, like a demon after blood, of which there ends up quite a flood (or a torrent or a deluge, take your pick).

The fantastic Béatrice Dalle, who gave us one of the most outstanding performances of her career in the brilliant Betty Blue, gives us another intense interpretation, as a stalker/house breaker intent on causing chaos and carnage, while wreaking havoc and mayhem - which she achieves with some aplomb and more.

'À l'intérieur' pulls off a surprising feat: it manages to take a concept that is, by its' very premise, provocative, and make it remarkably uninvolving. It performs this reverse alchemy by an unrelenting series of missteps, in both minor details and choices that the characters make, or don't make. Every time you get close to being sucked in by the action, you are suddenly ripped out of it by something that draws attention to the contrivance and implausibility.

Having said that, I still enjoyed the film due to the performance of the two leads and the remarkable, atmospheric direction. In fact, all of the actors were fine, doing their best with what they had to work with. In the end, this is a gore-fest, and at that the creators succeeded in spades.

I can't recommend this to anyone looking for an involving story or the kind of suspense that demands that you lose yourself in the film, but if you're looking for an 82 minute ride through a great looking charnel house, you could do a lot worse.