As a film enthusiast who’s seen my fair share of indie films at Sundance and beyond, I must confess that “It’s What’s Inside” left me with a bit of a love-hate relationship. On one hand, Greg Jardin’s visual style is nothing short of breathtaking. The way he plays with split screens, picture in picture, social media, and more is nothing short of mesmerizing, creating a film that truly pops visually. It’s like stepping into an art gallery where every piece is a stunning masterpiece.
At this year’s Sundance Film Festival, “It’s What’s Inside” made its debut and was purchased by Netflix for approximately $17 million, as reported by Deadline. Some viewers might consider it a wise investment. Given that director Greg Jardin demonstrates an abundance of style in his first feature film, this assessment seems plausible. However, when it comes to content, there’s room for improvement. The comedy-horror genre has a compelling concept at its core, though.
The story “It’s What’s Inside” initiates with a disagreement between Shelby (Brittany O’Grady) and her partner Cyrus (James Morosini) over intimacy. Shelby is eager for the encounter, even adorning a wig to add excitement, while Cyrus hesitates. The argument intensifies, leading Shelby to express disinterest in attending Reuben’s (Devon Terrell), their college friend’s wedding. Despite her reservations, she attends and finds herself, Cyrus, Reuben, and four other college friends reunited at Reuben’s house. This residence is a tribute to the artistic legacy of his late mother who passed away eight years prior. The gathering takes place during their senior year in college, and since then, they’ve had limited contact. However, Reuben views this occasion as an ideal opportunity to rekindle old bonds and has arranged for his fiancée to be absent so they can fully connect.
Later, an unexpected guest named Forbes (David Thompson), who had been expelled from college following a scandal involving his younger sister Beatrice (Madison Davenport) and underage drinking, shows up with a mysterious briefcase containing a device that allows body swapping. This development sets the stage for an exhilarating turn of events. Some are elated, some are troubled, but all find themselves drawn back for more until a terrible incident shatters the group’s unity.
The style is bold and appealing
The style of this movie can’t be denied. Greg Jardin uses split screens, picture in picture, social media, and more to make this movie pop visually. It’s like a collage, and it’s hard not to fall in love with it. From scenes lit in greens and blues to a room that’s entirely lined with mirrors, this movie looks good.
Often, the visuals appear to support or enhance the narrative. A notable instance in the film involves a rapidly spinning shot of all eight friends on the couch. As the camera revolves at an increasing pace, their individual faces eventually blur together. This suggests that any one of them could be someone other than what we might initially expect (a thought-provoking point given that we’re watching actors portraying different characters), and it effectively adds depth to the movie. However, this technique is not a common occurrence but rather an exception in most films.
As a dedicated fan, I find that the soundtrack serves multiple purposes, with varying degrees of success. For instance, when Cyrus’ voice gradually fades out, allowing Shelby’s focus to shift elsewhere, it feels authentic and well-executed. However, more frequently, such as during the movie’s climax when the soundtrack produces blips and bloops, I find that it falls short of enhancing the experience. In truth, as the film progresses, the soundtrack unfortunately becomes more grating to my ears.
The story leaves something to be desired
From another perspective, the story could benefit from additional layers. Although the concept of body swapping is intriguing and serves as a strong foundation for a film, it seems that Greg Jardin might have benefited from a collaborator when writing “It’s What’s Inside”, to ensure the characters and scenarios are richer and more engaging than the movie currently presents.
The narrative primarily unfolds within a unique yet relatively unexplored setting, leaving the characters as the main focus. Regrettably, these characters lack depth and intrigue, despite competent performances by the cast. The only noteworthy aspect is the secret love between Reuben (played by Nina Bloomgarden as Maya) and his feelings for Maya, while Shelby and Cyrus grapple with their complex relationship or face the possibility of a breakup. Beyond these elements, we don’t learn much about them beyond basic details: Dennis (Gavin Leatherwood) is a trust fund beneficiary, Nikki (Alycia Debnam-Carey) is a social media personality, Brooke (Reina Hardesty) is an artist who draws pictures, and Maya practices Buddhism. We know slightly more about Forbes because we witness his projects, but this doesn’t add much to the overall plot.
In this film, the body-swapping antics don’t offer much new insight, but the dynamics between Shelby and Cyrus are undeniably intriguing – it’s just that Jardin seems intent on highlighting their tumultuous relationship. Throughout the party, these two never cease to argue, yet I find myself questioning not so much why Cyrus can’t meet expectations, but rather why Shelby still sticks around. It feels like she takes as much pleasure in complaining about him as he does in dismissing her needs. However, if this is the crux of the movie, it raises concerns. The characters barely make an impact when they inhabit bodies of different races, let alone delve into deeper themes. Strangely enough, no one seems to care when they discover their body was used for intimacy with someone they wouldn’t have chosen themselves. Instead, it’s as if old grudges and relationship woes are brought to light, leaving a trail of unresolved bitterness in its wake.
The movie doesn’t offer much depth beyond its initial concept, due to spoilers I can’t reveal more. However, the third act twist and an intricate ending featuring a fresh character provide plenty of plot elements for the film. Unfortunately, it lacks insight into human nature. Despite Jardin’s impressive visual style, his storytelling could use some improvement. If he can match his visual creativity with compelling narratives, he might create something truly remarkable.
“It’s What’s Inside” comes to Netflix on October 4.
Read More
Sorry. No data so far.
2024-10-02 07:30