Alicia I love this movie so much

Smartorhypo Highly Overrated But Still Good

Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.

Allison Davies The film never slows down or bores, plunging from one harrowing sequence to the next.

Nigel P In some ways this could be the most realistic found-footage film of all that I have seen – in that it's often impossible to work out what's going on. Equally, the depictions of the group of teenagers getting drunk and swapping embarrassing stories is immediately tiresome.As the story goes, a man (Eoin Macken, who also writes, produces and directs) gains possession of a second hand camcorder, and on it he finds footage that appears to depict the final hours spent by a group of currently missing Irish girls. Spending an evening in an abandoned warehouse isn't everyone's idea of a good way to celebrate a birthday, and tempers are frayed from the outset. These are flawed people. When they are attacked by vagrants, however, it comes as a relief the camera-work is shaky and obfuscates the resulting raw abuse.When it is revealed there is a bigger, supernatural threat at large, the pace of the film slows. We are treated to quite slow scenes involving the characters reacting to barely glimpsed creatures not dissimilar to those in 'The Descent', and some unexplained sounds of a baby crying.The found footage formula ends when 'The Man' has reached the finale and we return to more coherent, slick direction of regular film-making for what I feel is the least convincing part of the story. Having seen a group apparently slaughtered by demonic forces in a location that is familiar, would you then take it upon yourself to investigate that very area, unarmed and alone? Because I wouldn't. Yet that is exactly what the man does. Would he not hand over the webcam to the police? I justify his actions in this way: we saw him pawn his ring for cash. Perhaps he has a drug habit and is reticent to contact the law? I wouldn't suggest for a moment that people who pawn their goods are addicts, but it's the only reason I can imagine he doesn't contact professionals to deal with this. Much as this lapse of logic happens in horror films, I found it difficult to get past here, which mars an otherwise very effective feature.

M. Qtips (M_Qtips) I just got blown away by this movie. Yes, by conventional film standards, it sucks: almost no story, no narrative arc, almost no dialog for the second half, nothing is ever explained, entirely full of insipid depthless characters who are either brutally loathsome (most of the men) or spend a hell of a lot of time doing nothing but wandering through a darkened building whimpering and screaming (most of the females), spends too much time indulging itself in banal torture porn conventions without going anywhere. I don't even think many of the characters had names. It doesn't even have a trace of the pretentious art-house conventions some films stoop to in order to try to justify the obvious lack of conventional movie-making skill.And yet, I loved it. I was floored and genuinely scared watching it. I will definitely watch it again. It's barely a story, it's more just a tapestry of murky, mounting fear, presented for its own sake. In some ways, it's comparable to Fellini in its broad, expositionless, near-abstract presentation of something more wrested from the subconscious than designed to satisfy the intellect.Its focus on tone rather than narrative is reminiscent of, yes, found-footage origin The Blair Witch Project, but even moreso, of old Giallo horror films, films that reveled in the idea of fear and focused more on creepy mood than the more conventional trappings of movies as "quality" entertainment. No part of the movie is really all that dependent on any other part an any strict way, and it even abandons its "found footage" first-person perspective before it gets to the end. But even so, once it finds makes one of its several shifts and finds its footing about halfway through, abandoning what seems to be a banal brutality-as-spectacle approach and shifting to the stuff of deeper, more phantasmagoric nightmares, it becomes easily the only truly scary film I've seen in a long time. I'm not going to include spoilers, but there are moments in here as iconic and viscerally chilling as Nosferatu's long-fingernailed shadow gliding silently up a stairway wall.I was genuinely surprised to see "The Inside"'s low 3.3/10 rating on IMDb, but it makes sense. It succeeds in a much less polished, and quieter, but otherwise similarly unconventional way as Lars von Trier's "Antichrist", another film that doesn't even remotely attempt to be enjoyable as a movie-going experience, which, like this film, deceived a lot of people into thinking it was a bad movie instead of quite the opposite. I almost gave it 9 stars. I still might. This film knows exactly what it wants to be, and it unapologetically is that and only that, to the very core. If you don't like it, the problem may not be with the film, but with you. Despite the rocky beginning, this film's ultimate odd, offputting achievement deserves to be considered a misfit classic.

Leofwine_draca A one-man-band Irish horror film, directed, written and acted by Eoin Macken. Unfortunately this gentleman displays an entire lack of understanding of what's involved in the film-making process, and despite the found footage hook on which he hangs his movie, this turns out to be one of the worst in a glut of badly made recent horrors.Narratives are all about ebb and flow. You start off subtle, build up tension and atmosphere to a climax, then simmer things down before building up again. Things inevitably lead to a final climax which should be bigger and more dramatic than that which has come before. This story, which tells of a birthday party in an abandoned building that goes horribly wrong, gives you precisely 10 minutes of set-up before letting rip with a constant soundtrack of high-pitched screaming.I'm not kidding: there's no script here, just characters screaming and shouting for what seems like an eternity. Maybe it was done to cover up a lack of acting talent, but whatever the reason it's absolutely horrendous. The director has no understanding of subtlety or how it can be used to make a quietly effective and genuinely frightening movie. THE INSIDE goes all-out early on and stays like that till the climax.The movie is also unpleasant, featuring defenceless women being terrorised by rapist thugs, at least at first. Things change later on, heavily indebted to the likes of REC and THE DESCENT as the party-goers fall victim to something sinister and nameless. But it's not scary, none of it is remotely frightening. The film also ends about 20 minutes too early and tacks on an extraneous sub-plot which makes it even worse, and I didn't even realise that was possible. This truly is the pits.

unendurable_lampoonery I just saw this film at Monster fest Melbourne, and must say when it started I was already annoyed by screaming girls and shaky camera work, which i was expecting as it is another "found footage" film that i am getting very tired of. But then the vagrants come in and I'm thinking, this is messed up this could be really sinister and nasty, and then it dragged on, and on, with silly little cliché glitches of the camera extremely similar to the tall man series on you tube. then the over used baby cry that is never fully explained or reasoned and also chuck in some witch craft and satanic symbols on the wall, and I'm just thinking. "what is this film." people ended up just laughing through out the movie screening. I think a movie where you never care about the characters to begin with then you are made to feel a bit scared for them, then hate them again, and then I just wanted the film to end, but it just kept going. A number of people walked out on this film screening, I stayed as I will try to give everything a chance and this is sadly just bad.