There’s Someone Inside Your House is the latest in a long line of forgettable Netflix movies.
It’s a generic slasher with uninteresting protagonists, a pointless plot, and satisfyingly gory murders. The picture gets off to a good start, but the premise quickly loses its appeal.
The script, directed by Patrick Brice (Creep, Creep 2), has a lot of problems. The characters aren’t well developed, the plot is boring, and the dialogue is bad.
Unfortunately, the story does not make effective use of the fact that it borrows from other genre masterpieces. The story lacks the necessary depth to make an impact.
There’s Someone Inside Your House
American slasher film There’s Someone Inside Your House, directed by Patrick Brice and written by Henry Gayden, is scheduled for release in 2021.
Starring Sydney Park, Théodore Pellerin, Asjha Cooper, Jesse LaTourette, and Diego Josef, the film is based on Stephanie Perkins’s 2017 novel of the same name.
Makani Young (Park), a senior from Hawaii studying abroad in Nebraska’s Osborne, finds herself at the centre of several grisly murder investigations.
Producing the Netflix original film There’s Someone Inside Your House are Shawn Levy and James Wan, under their respective studios Atomic Monster and 21 Laps, which was announced in March of 2018.
Additional filming wrapped up in August of 2020. Principal photography took place the next year in Vancouver with cinematographer Jeff Cutter.
Michel Aller edited this movie, while Zachary Dawes scored it, during post-production.
Synopsis of the Film
Jackson Pace, a high school football athlete, wakes up to find images shot the night he participated in a hazing and beat up a gay classmate, Caleb.
The killer, now disguised as Jackson, reveals the footage of Caleb’s assault to the entire school before stabbing and killing him.
Friends Makani, Alex, Zach, Darby, and Rodrigo invite Caleb to sit with them at lunch the following day after he is rejected by the rest of the school.
Katie, president of the student council, announces that a memorial service will be held at a church and reads aloud an essay she wrote about the event.
When Katie arrives at the church to set up, someone starts playing her racist and homophobic podcast.
The cyclical comeback of the adolescent slasher is based on sound economics; it’s a classic formula.
That can be repeated inexpensively by low-budget unknowns for an audience that’s often overlooked and undervalued.
What’s less clear is why it’s taken this long for them to come back from the dead again in the era of low-stakes streaming.
But today, in the wake of Happy Death Day’s 2017 success and Halloween 2018’s record-breaking numbers, we find ourselves in the midst of a full-fledged revival.