Title: Inside (2007)
Starring Alysson Paradis and Beatrice Dalle
Produced by La Fabrique de Films, BR Films and Canal+
Written by Alexandre Bustillo
Directed by Alexandre Bustillo and Julien Maury
Score: Technical: 100, Story: 90, Acting: 95, Overall Score: 95
I always look forward to see upcoming horror movies. Inside was no exception. However, I quickly realized that Inside wasn’t like normal horror films and as the film went on I was proven right. It has officially happened…I found a movie that repulsed me to no end.
Sarah (Alysson Paradis) and her husband, Matthieu (Jean-Baptiste Tabourin), get into a horrific car accident in the beginning of the film, leaving Matthieu dead and Sarah (and her unborn baby) seriously injured. Four months later, mom and baby are in excellent shape and are scheduled for delivery the next day, Christmas Day. Sarah goes home for her last night of freedom and discover a madwoman (Beatrice Dalle) stalking her outside her home. The woman calls her by her first name despite not knowing her and soon finds out they’re more alike and closer than originally thought. Everyone who attempts to check on Sarah and/or rescue her from the woman’s harm end up in worse shape than sarah herself: dead. When the slaughter dies down and leaves just the two women, we see how much a woman and her child really mean to each other in perhaps the most brutal display of impending motherhood in history.
Inside is hands down the most brutal and horrific movie I have ever seen. Not a lot offends me or shocks me these days, unless its real news of course, but this movie managed to really get under my skin. Perhaps it’s because I’m female and childbirth is sort of naturally in my system, but this movie was just absolutely insane. Although I appreciate it for what it is, I will never, ever watch this movie again.
I do appreciate a lot of the horror movie homages that happen in the film. For instance, there are two really great homages seen in Halloween: the sewing needle in eye and the blackened body with pale, featureless face peering out of nowhere several times. I haven’t felt that uncomfortable watching a horror film since the original Halloween, so it gets a lot of credit for that. There are also a lot of Hitchcockian references. From the eye peering through a hole to more obvious homages to Rear Window, any classic film fan will find something they like in Inside.
However, something technical that really bothered me throughout this movie is how intelligent the beginning sequences were, using a lot of very old-school techniques you don’t see much these days. However, as the film went on, it got to be a pretty typical slash-fest, even though, there were some deaths in the movie that really made me cringe…and obviously the last one. I also really liked that the villain ended up being victorious in the end, which is something people not only frown upon in film, but rarely happens.
Being that Inside is a French film, there are a lot of political references about immigration riots and bad neighborhood events that instead of helping the film are really not needed.
Technically, the film looks great. There are wonderful camera angles and a beautiful yellow tint to the entire film. However, it wouldn’t be as shocking had it not been for the absolutely incredible and almost TOO realistic special effects. This aspect alone really broke reality for me. I felt as if I was watching real murders take place versus watching a movie, which is usually the opposite of other horror films. It got its realistic tone across without using the annoying handycam action used in so many horror movies these days.
To be entirely frank, this movie is just truly fucked up. I never thought I’d find myself with an upset stomach and sour look on my face after seeing a movie, but Inside really did that to me. If you have been/are pregnant, ABSOLUTELY DO NOT WATCH THIS! If you are easily offended or spooked, avoid this one as well. However, if you’re a horror fan or someone who wants to be truly spellbound by horrific, realistic events on film, rent this one ASAP.
By Tessa Petrocco
