Is Someone In Your Home: Netflix Movie Is Confusing And Shallow


Is Someone In Your Home: In recent weeks, Netflix has bet its chips on the release of a new horror movie with young protagonists. There’s Someone Inside Your House is based directly on author Stephenie Perkins’ novel of the same name.

Despite this, the production does not manage to go deeper into the relationships discussed on stage at any time, which highlights the expectations of the filmmakers to just follow along with the hype.

Find out more about what we think of the movie by reading our full review below!

Is Someone in Your Home: a formula that may already be getting beaten?

One of the most popular subgenres of horror movies is slasher. Generally speaking, projects that approach groups of people, usually young people, constantly being chased by a serial killer tend to fit this style.

In recent years, even new productions of this type have captivated viewers — it is worth remembering, for example, the successful trilogy Rua do Medo, launched in July by the streaming giant itself. However, there are many inconsistencies in virtually every aspect of Have Someone at Your Home, making the audience feel uncomfortable.

In the plot, the audience meets the young Makani Young (Sydney Park), who moved from the state of Hawaii to Atlanta after getting involved in a dark episode that she wants to forget. Although no details about the subject are mentioned in the new school, some strange things happen at the place, revealing many dark secrets of some students.

As teenagers are exposed to their peers — like the sportsman who beat up other students for their sexuality and a nun with a political podcast — they too are killed by a masked killer who uses sharp knives to make sure no one survives. In this sense, the scenes of violence are quite raw and explicit.

And even if, for the genre, this point is a positive factor, the atmosphere of tension that Patrick Brice, the director responsible for the film, tries to build is quite flawed. Right at the opening, there is an extremely free jumpscare, which does not add anything to the development of the narrative, something that is repeated at various times. The feeling that remains is that the filmmaker is trying to force something, taking into account everything that the script cannot elaborate.

Except for the second murder case, all the others sound pretty hollow and without any depth. It’s like there’s a temporary exposure about who the next target would be and then their secret is finally revealed to everyone. Even when the protagonist is confronted, there is no emotion that makes the audience root for her success in defeating the killer.

By the way, the great mystery that surrounds the film is in its figure, especially when there are some suspicions in characters presented throughout the story. This is the case with Ollie (Théodore Pellerin), who has a complex family relationship and an unfriendly reception from everyone at school.


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