Gore films are seldom taken seriously, and with good cause. Rarely, one pops up that deserves consideration instead of a knee-jerk reaction.The first few second's of "Inside" are brilliantly traumatic. We're taken inside of a womb and watching a safe fetus, floating in amniotic fluid. Life is peaceful and life is warm.
Then comes a jolt, a crash and blood. If you think that's the worst "Inside" has to offer, you're in for a surprise.
Sarah and her unborn baby survived the crash, but her husband was killed. Four months later, the ready-to-burst mother and child are doing just fine.
She has understandably become reclusive. She won't make small talk with anybody. She shuns the company of her closest friends.Then, on Christmas Eve, a strange woman shows up at Sarah's home and demands to be let in.
This sequence feels like it could have plucked out of Stanley Kubrick's "A Clockwork Orange." But the stranger is even less humane than that.
"Inside" takes things farther. The filmmakers are unabashed and unblinking.
The stranger gets inside and she's more than what we're expecting.
At first, right when she gets inside, takes on a tangible "Audition" quality .
The film focuses on her attack on Sarah and the ferocity of her hatred. We have no idea why she hates Sarah, and nor does she.
The vicious fighting and savagery is even more intense than one sees in the most extreme horror and gore flicks. During the barbarous brawling, we get glimpses inside the womb, showing us how the baby is surviving the trauma.
Unlike many horror movies, Bustillo and Maury use gore to progress the film's theme and story. As the films gets more terse, the walls and characters get bloodier and bloodier.Meanwhile, we try to figure out why this stranger is laying siege to Sarah and her baby.
Whatever the answer, we're left with nothing but questions. What makes one violent? At what point does vengeance become psychosis? Lastly, what makes one mad?
No comments:
Post a Comment