Inside (Unrated) - Dark Publications

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Editorial Reviews:

Amazon.com
Hailed by several critics as the first great French horror film this millennium, Inside opens on a gory note and stays true to the bloodfest throughout. But rather than using splatter-gore for comedic effect, as did young directing team Julien Maury and Alexandre Bustillo's predecessor, Hershell Gordon-Lewis, this duo timed their gore to build tragic suspense, scene after disgusting scene. The strength of Inside's plot is its simplicity, though the film is slow at first. Pregnant photojournalist, Sarah Scaragato (Alysson Paradis), has just lost her husband in a fatal car accident and is in recovery when her baby is due on Christmas Eve, in fact. Morose, she rejects friend and family visits, opting to stay home. A bewitched predator, played by Beatrice Dalle, senses Sarah's vulnerability and seizes upon it like a spider capturing prey in its web. The tale, woven around maternal psychosis, reveals Dalle's haunting preoccupation with stealing Scaragato's unborn baby. Each character who enters Sarah's house, the "war zone" as one doomed policeman puts it, encounters the wrath of two women fighting with mirror shards, knitting needles, scissors, hurled kitchen appliances, and even a homemade bayonette. Like the best horror thrillers about motherhood---Rosemary's Baby, Don't Look Now, Alien---Inside seizes ample symbolic opportunities to exhibit the primal obsession women have with babies. Even better, Inside invites feminist critique as do other female-centric horror films such as Ginger Snaps, whose plots not only include strong, vengeful female victims, but also sympathetic, criminal femme fatales. An entertaining "Making of Inside" featurette follows, revealing makeup and special effects techniques. Inside is for a specific audience; as scenes get redder and wetter, the squeamish may find it sickening---beware and enjoy. —Trinie Dalton

Product Description
Four months after pregnant Sara loses her husband in a horrific auto accident, she is visited on Christmas Eve by a mysterious madwoman. Alone and desperate to save her unborn child, Sara fights to stay alive as each of her potential rescuers die at the womans sadistic hands.

Customer Reviews: Read 99 more reviews...

4 out of 5 stars

A nice surprise. Scary and Gory. April 27, 2008
28 out of 32 found this review helpful

Having read a lot of reviews on this movie and a lot of the praise it's getting, I had to try this movie out. And boy am I glad I did.

Let me get this out of the way, I do not THINK you will like this movie if you do not like gore in your movie. Cause there is a lot of it in the end. It's not all gore though cause the movie does start off pretty scary also. There was one scene that seriously made me get an uneasy scared feeling. I don't want to ruin it though so I won't mention it here. There were also scenes that made me feel uneasy in a different way... as in a `turn your head and don't look at that gore' way.

Ok now that that is out there, the movie starts out with a car wreck that's already happened. We see a woman, Sarah, bloodied and barely alive. Her dead husband or boyfriend (I can't remember) is next to her in the passenger seat. Sarah is also pregnant.

We see Sarah later at the doc's office. She's getting her baby looked at and is told they'll be inducing labor the next day. She looks miserable, and it's because of her lost love, not her new kid, who I don't think she even cares about anymore.

That night she is visited by a stranger at the door. And we, the viewer, are visited by a really good scary/gory movie. I thought the mood of the movie turned over from a little boring to unnerving to suspenseful to shocking to crazy in exactly the right moments and it was done so well. The atmosphere of the house is so claustrophobic that I constantly found myself having a hard time breathing. You want her to run, but you know she cant just make a break for it for two reason. No room and a big prego belly.

Now there are some things that didn't make sense that might turn some people into haters. For instance...the bathroom door was really easy to pierce with a pair of scissors and a glass shard, but was able to stand up to a bunch of kicks trying to knock it down. Also the cops were pretty stupid. And there are a few other things. But who cares. The movie was fun and did what I think it wanted to try and do. Scare you... and gross you out.

Scary AND gory. Great movie.

P.S. Did anyone see the number on the house that this happened at? I did....666. hehe

P.P.S The French walk REEEAAALLLY slow when they are leaving a hospital and talking to a friend.

5 out of 5 stars

Truly Sick, But Truly Awesome January 17, 2008
19 out of 21 found this review helpful

This is one of the most stomach-churning movies I've ever seen, but if you like gore, this movie's the best! The whole movie basically takes place in a house, but it's so intense that you're on the edge of your seat the entire time. It's rare to have a woman be the villain, but this woman is psychotic and more frightening than most male villains. Not for the squeemish, but definitely worth a look.

4 out of 5 stars

Have you ever heard of adoption Lady........... May 21, 2008
18 out of 18 found this review helpful

Well, I guess I can start off this review by saying that this is solid proof that Euro-Horror and it's director's are so far ahead of us Americans when it comes to the horror genre. While our studios are continuing to crank out remakes, and basically recycling stuff that have sat in the can for years - it are the European filmmakers who are out there whipping up new and imaginative ideas like they usually do.

From French Directing duo, Alexandre Bustillo, Julien Maury, comes INSIDE, a film that exploits a subject that surely has to be any mother's nightmare - having their child taken away from them. Now, I suppose that this would be hard for any mother, regardless the age of the child - but it has to be that much harder when the child is still in womb. In the film, we watch the main character go through the trauma of losing her husband to a crash. After the aftermath of the situation, she still keeps her sanity, just knowing that a piece of him remains, in the form of their unborn. What the Directors do here, is, well....wreck that sanity she has left, and they do it brutally. There is a mysterious woman hell bent on claiming Sarah's baby as her own. Whether she's have to kill Sarah, or just blatantly extract it from her womb, she is bound to finally become a mother herself.

INSIDE is definitely a thrill ride from the beginning to end....it's one of those "you'll never see what's coming next" kind of films. I must say that the realistic gore in the film is just fantastic and brutal, it adds more tension to any already intense situation - but the fact of the matter is that through the course of this film we watch an innocent woman(Sarah) go through absolute hell, while fighting to keep her and her beloved child alive,

The production value and direction here are great, and really capture all of the tense moments. For the most part, the film has but only one location, which is Sarah's house. I have always said that the one location thing could be a disaster (Bug (Special Edition) anyone?), but if they're handled correctly. a primary set could be the best thing to happen to a film. In the case of INSIDE, having one location works out very well as in conveys the feeling of being trapped from the point of view of our victim. And like many films of the same type. you do expect everything to dull down after awhile, but truth is, once this film gets to the subject of it's plot, there are very few dull moments, as the special effects alone are enough to have you glued to your seat. And another thing about the film is it's visual effects - I loved the CGI shots of the baby in the womb.

In the end, there's a reason that INSIDE was released under the DIMENSION EXTREME label; it is extreme, violent, brutal and just about every other adjective that you can think to call it - the scary thing is that the film's subject is one that could happen anywhere in the world or any day of the week.

5 out of 5 stars

Absolutely brutal February 18, 2008
17 out of 18 found this review helpful

*** This comment may contain spoilers ***

A l'interieur (2007/8)

'A l'interieur' is the much-talked-about release from first-time writer/director Alexandre Bustillo (the man behind the upcoming 2009 'Hellraiser' reboot). The film, a brutal one to say the least, focuses on a pregnant woman who becomes the subject of a mysterious and violent stalker. Moving from a startling open scene with a violently damaged foetus to a rather bloody mess of a fatal car accident which seriously injures our star, Sarah (played by Alysson Paradis, sister of Johnny Depp's partner, Vanessa) and kills the father, Matthieu (Jean-Baptiste Tabourin).

The actual plot starts four months later (which seems a bit surprising as Sarah's baby bump was already looking like a baby hill at the time of the wreck, and she's just now arriving near her due date). The disturbed Sarah, an action photographer for the local journal, suffers from some seriously odd dreams involving vomiting up copious amounts of some milky substance, CGI black cats and birthing her child, err, incorrectly . It's after one of these nightmares that Sarah meets the terrifying Femme (Beatrice Dalle) at her, Sarah's, front door. Sarah, perturbed by the oddities of the meeting and La Femme's resistance to leave, phones the police. Here, we learn one important thing: French police ACTUALLY care! In most American films (and real-life situations), a late-night distress call about a nuisance at your door would usually result in one officer driving by the house hours too late. In France, however, three cops arrive quickly, do a full check of the premises, AND a follow up. Now THAT is civil service! Unfortunately for Sarah, however, this fine police work doesn't stop La Femme from a series of gruesome attacks on Sarah, her unborn child, and a couple more people (and animals) she holds dear to her. The film continues on for the majority like that. . . torture, attacks, and lots of blood. And, while it sounds like 90% of horror films from the past few years, it's not. At all. There's something special about this one.

For a film that primarily takes place in three rooms of one house, A l'interieur is one of the most powerful and disturbing films to come along in a long, long time. It's only made more intense by some fantastic acting by victim (Alysson Paradis) and attacker (Beatrice Dalle) and some very realistic gore. . . not to mention one of the most fantastically insane and cringe-inducing endings in cinematic history.

All horror filmmakers and fans looking for the perfect way to make a modern torture or vengeance film should study this one intently, because this is as close as you'll find. . .

Final Verdict: 9.5/10.

5 out of 5 stars

Own it. March 8, 2008
17 out of 21 found this review helpful

Directors Julien Maury and Alexandre Bustillo's INSIDE (original title: A L'INTERIEUR) has proven once again that if anyone has their mutilated finger pressed firmly to the pulse of horror, it's the French. This scribe hasn't seen anything quite this cinematically dangerous since their countryman Gaspar Noe's gut-punch of a flick IRREVERISIBLE, and like that film, INSIDE proves to be a rollercoaster gone off the gore-drenched rails, as well as a film that, while paying homage to the slasher film, redefines the genre itself. Kudos to LA's Screamfest for helping expose this Euro masterpiece to the U.S. masses.

Written by Bustillo, INSIDE has an opening setup that is familiar enough to horror cineastes: A young married couple are involved in a horrific car accident on a rainy country lane, one which the husband doesn't survive. Four months later, his pregnant widow Sarah (portrayed with astounding commitment by actress and sister-in-law to Johnny Depp Alysson Paradis) is scheduled for induced labor. Still mourning the loss of her husband and in a disconnected emotional state, Sarah decides, much to the chagrin of her mother, to spend Christmas Eve alone in preparation for the following morning's birth. It is here where things shift gears following a simple knock on her door, and while savvy audiences will certainly ascertain the identity of the (soon-to-be malevolent) stranger (this scribe did, even before the visually stunning opening credits rolled by), it's the clever road of carnage leading up to--and after--the reveal that will keep those with strong stomachs in their seats, and perhaps drive those with lesser fortitude to a state of nausea.

Pure and simple, the conceit is that Sarah's visitor wants her unborn baby, and isn't content to wait for its natural birth; the intruder's pair of 10-inch shears prove undeniable testament to that. Portrayed with acute gravity by Beatrice Dalle and billed simply as "La Femme" (a nod to John Carpenter's "The Shape"?), this villainess is an altogether terrifying amalgamation of covetous, bloody and remorseless savagery.

More importantly, both women's emotional states and motivations ring true, and thus so does the narrative. However far Maury, Bustillo and producers Veran Frediani and Franck Ribiere push the envelope (and in fact break it), the proceedings, beyond one or two leaps of logic in the third act, carry the audience along effortlessly. There is something raw, familiar and human here, with each character's respective motivations nuanced and believable, and as a result the already red-lined suspense attains an intensity not seen in many years, with an ending that's entirely unpredictable and unquestionably grim.

Assisting considerably in the tension department are cinematographer Laurent Bares and composer Francois Eudes, who together lend an element of dreadful class to the flick, carrying the audience from the at-first womblike confines of Sarah's home to the charnel house it becomes. Bares channels Carpenter's approach to HALLOWEEN in his framing, utilizing negative space and expressionistic lighting to spectacular effect, while Eudes takes a cue from the minimalist synthesized score of Carpenter's classic and delivers an aural component that is at times lulling and at others entirely unnerving.

As for the carnage on display, makeup FX supervisor Jacques-Olivier Molon and visual FX overseers Rodolphe Guglielmi and Bourdonnay Judikael deliver the goods and then some. A self-induced tracheotomy, a partial decapitation by gunshot, an unsettling homage to David Lynch's BLUE VELVET and various burnings, bludgeonings and stabbings, as well as the piece de resistance (which I won't give away, and must be seen to be believed) are all delivered with such organic viscera that it's nearly overwhelming. The French have apparently perfected the consistency and palate of stage blood; never before has arterial spray looked so damned...real (which is most likely why Dimension snapped it up for straight-to-DVD release via its genre-centric Extreme imprint; there's no way this flick would garner anything less than an NC-17 from the MPAA).

Vive la France!

See it.

- Sean Decker / Fangoria Magazine

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