There is someone in your house


PARCEL: After Makani Young (Sydney Park) moves to Nebraska to escape his scarifying past, his new friends are systematically hunted down by a psycho-slasher wearing masks that resemble their faces and threaten to kill them because of their most secret. dark.

REVIEW: It’s Scream’s young cousin who meets I Know What You Did in Patrick Brice’s nimbly fun new teen meta-slasher joint There’s Someone Inside You, scheduled to hit Netflix this October 6, proving that the niche is behind the previous works of the independent horror director. in Creep, Creep 2, Room 104, and Corporate Animals can be tonal but not so terrifyingly applied to more mainstream accessibility to everyone’s enjoyment – hardened horror heads and genre tyros, young, old and in between. both. I want to reiterate that Brice is a horror director because he has a clear adulation and studious knowledge of the various iterations of the genre that he has, with his new smooth burst, a distinctly light ’90s style of a thriller which, because of its understanding of the machinations that make these films work – namely the well-choreographed deaths of quite unpleasant people – is able, for the most part, to sidestep convention, avoid stunning clichés and break through predictable platitudes en route to delivering an irreverent, hyper-bite gore-horror film of pulp. Along with the overabundant crane and a few inventive death modes that are sure to satiate even the most grizzled demon slasher, it’s the central character’s strength, inherent sympathy, and sympathetic spell that makes any one resonate. slight terror on a dramatic level. Despite a point subtracted to easily call the culprit, this is a fun, downright enjoyable, cleverly written slasher to indulge in that All Hallows Eve.

Nebraska, present day. The film opens with an elegantly surreal murderous motif that establishes the killer’s evil modus operandi. A gormless sportsman from Osborne High named Jackson (Markian Tarasiuk) finds himself home alone, where he wakes up to find photographic evidence of himself entangled in his deepest and darkest secret. Soon a hooded figure wearing a mask that resembles Jackson’s face appears, with a jagged hunting blade a foot long, and gives the child a barbaric dose of Ghostface-like violence reminiscent of a Opening scene from Scream reversed. This killer dynamic targeting his suspects, one by one, and attacking them alone while wearing their facial faces is at the heart of the premise and, for the most part, provides enough of a mysterious hook to keep our engagement in full focus. There is also a distinctly surreal quality to the death scenes which feel slightly offbeat, like a dream.

Next, we meet Makani Young, a troubled teenager who moved to Nebraska with her sleepwalking grandmother (BJ Harrison) to escape her traumatic past, which with her hidden poetic side and her summer crush on the creepy outcast Oliver (Theodore Pellerin), is his main secret that the killer will ultimately try to exploit. But first, Makani tries to maintain a semblance of normalcy with his misfit friends at school who include the goofy athlete Caleb (Burkely Duffield), the fluid kind Darby (Jesse LaTourette), Rodrigo (Diego Josef), his bubbly. secret. Alex (Asjha Cooper), Town Kid Zach (Dale Whibley) and Evil Girl Online Katie (Sarah Dugdale) – all of whom are hiding a secret the killer deems worthy of paying for their lives in ultra-exhilarating ways. We’re talking about sudden tears of tendons, throats, gashes in the gut, stab wounds to the breastbone, the labors, all of which are more shockingly inventive than genuinely terrifying, but remain among the movie’s most enjoyable delicacies.

Beyond the viscerally punitive punches of incessant gore, what I dug the most were the cutting-edge observations conveyed by the characters that give the film a clever and caustic edge, especially when one peripherally pokes fun at it. an extreme millennial awakening, over-sensitive PC cancellation culture, wickedness of privilege, etc., all while responding to such criticism with its own progressive cast to add a cheeky self-reflective layer to the proceedings . That is, the film is essentially the target of its own scathing satirical bent, which is not only playful enough vanity, but it allows you to never take the film seriously. By muddling up, the meta-storytelling type lessens the weight of the themes and allows audiences to simply enjoy the movie for what it works best as a good old-fashioned slasher movie. The film raises important topical and topical social issues, but barbarically undermines them in favor of fatal and exaggerated ferocity. I enjoyed the wacky ways Brice and screenwriter Henry Gayden translated Stephanie Perkins’ 2017 source novel to both party and cast Gen Z to highlight their conscientious virtues as well as their absurdly gentle and easily confronted egos. For a film so clearly rooted in the style of ’90s slashers, there is a refreshing salience in modern characters that helps the film feel more than just a slice of nostalgia.

The other aspect of the film that works well is the poetically moving protagonist Makani, whose internal struggle with the guilt of a past tragedy makes her extremely rooted and relatable, especially when she tenderly mingles with Oliver, a spirit equally unique and poetic who is considered a dangerous nutcase in school. Makani and Oliver’s kinship runs far deeper and more substantial than any other the girl has established in Nebraska, but her reluctance to publicly recognize him as her boyfriend complicates her character in a way that directly illuminates the plot, while the killer tries to use this secret. and others to bring down Makani. For a teen slasher flick with otherwise flat, stereotypical caricatures, Makani is given a compelling enough backstory to make his current heart-wrenching storyline one that we hope we can get through safely. Park and Pellerin’s performances are stronger than what we typically see in movies of this ilk, which goes a long way in allowing the drama to really take hold. Unfortunately, the thriller aspect of the story is not as effective, because correctly identifying the killer is not at all a challenge. It certainly detracts from the desired outcome, but it doesn’t make or break the overall experience one way or the other. It does, however, deserve a subtracted examination point.

Listen, there’s someone inside your house not reinventing or advancing the slasher genre in any meaningful way. It’s not even that scary. However, it is a fun, thrilling and entertaining tribute to the slashers of yesteryear that is not only anchored by a strong female role, but also dice the social mores of the millennial generation as brutally as the killer does it for his mirror victims. At the very least, it’s one of the best Netflix Originals to emerge in quite some time.



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