“It’s What’s Inside”: A High-Concept Take on Body-Swap Subgenre

Directed by: Greg Jardin
Rating: 7/10

Netflix’s new addition to their catalog is “It’s What’s Inside,” the latest film by director Greg Jardin. It’s the new entry in the burgeoning subgenre of game-night horror; much like “Bodies Bodies Bodies” and “Talk To Me,” this film offers a fresh perspective on a familiar premise of the body-switch trope. While it navigates the predictable waters of thriller storytelling, it distinguishes itself through its excessive verve style and relevant themes. The film follows a group of friends meeting up for a party on the night before the wedding. One group member brings a mysterious game that allows them to swap bodies temporarily with other members. This premise, while reminiscent of other films in the genre, is executed with a unique style that keeps the narrative engaging and somewhat unpredictable.

 The film focuses on its seven main characters---well, there is an eighth character whose identity provides a captivating twist. Each character plays an integral role, and the film relies heavily on the actors to deliver performances that convey both their original personalities and those of the characters they inhabit following the body swaps. Unfortunately, this is where the film encounters some challenges. While the narrative provides a rich picture for exploring identity and personality, the performances were unconvincing, which is required to realize the body-swapping fully. This is a missed opportunity to elevate the film from a conventional thriller flick. While the cast is visually appealing and charming, their inexperience ultimately hinders the film’s overall impact.

 Despite these performance issues, “It’s What’s Inside” excels in its high-concept narrative. Rather than bogging down the story with scientific explanations of how the machine works, the film trusts its audience to trust its material and focus on its thematic explorations. This approach allows the narrative to delve into more meaningful examinations of modern-day shallowness and the masks we often present to the world. The unlikeable nature of each character reflects a world filled with insincerity and distrust, subtly highlighting the jealousy and envy we usually feel toward friends and those around us, which is timely and relevant in this modern day.

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 The film effectively critiques the superficiality of modern society by presenting characters with diverse backgrounds and experiences, all coming together in this one party only to reveal their true self. As the characters swap bodies, they confront the biases and realities they typically conceal, both from themselves and others. This narrative device of the masks we wear is where “It’s What’s Inside” truly shines, giving the audiences a reality check of who we really are and the identity we present to the world.

 While some viewers may find the film’s extravagant style and verve visuals excessive, these elements align perfectly with Jardin’s directorial vision. The film’s cinematography resembles a sensory overload, mirroring the characters’ confusion and disorientation as they navigate their new bodies. This visual stimulation serves both as a narrative device and an immersive experience, drawing the audience into the film’s tumultuous high energy. One of the cleverest and most innovative aspects of Jardin’s direction is his use of stylish, red-lit visuals to differentiate characters post-swap. This creative choice not only enhances the film’s unique aesthetic but also aids the audience in tracking the characters’ identities amidst the narrative chaos. While the plot can occasionally be convoluted, these visual cues provide clarity, allowing viewers to follow the story’s twists and turns confidently.

 In conclusion, “It’s What’s Inside” is a high-concept addition to the game-night thriller subgenre. While it may struggle with some aspects of performance execution, it compensates with its narrative, vibrant style, and thematic depth. Greg Jardin’s film is a compelling exploration of identity, perception, and the roles we assume in our daily lives, all presented within a visually stimulating framework. It’s a film that feels like you’re smoking weed while watching, and that’s a compliment.