This review discusses "It's What's Inside" - a popular and highly-anticipated thriller from Sundance, which is generating a lot of buzz and sales. However, upon closer examination, the film may be lacking substance.

As the festival approaches its end, there is surprisingly little market news, despite reports of buyers eagerly seeking films to fill their schedules amidst ongoing strikes. Despite some notable sales, such as Searchlight’s acquisition of Jesse Eisenberg’s comedy A Real Pain and Neon’s pick-up of Steven Soderbergh’s ghost story Presence, there are still unanswered questions as the last weekend approaches.

Earlier this week, while others hesitated, Netflix made a confident move by spending $17 million to acquire the low-budget, mind-bending film It’s What’s Inside. This is an unusually high amount for a genre film without any well-known actors. While it may be surpassed in the coming week due to other more commercially appealing titles still being unsold, it is currently being hailed as the biggest hit of the festival. However, this title comes with a troubled history and high expectations that often lead to disappointment. Festival hype can also be dampened by the realities of the wider audience. For every critically acclaimed film like Coda, there are others like Hamlet 2, Late Night, Happy, Texas, and Birth of a Nation that fall short. The rise of streaming platforms (investing heavily in films such as Fair Play, Flora and Son, and Palm Springs) may have changed the definition of success, but buzz is still a key factor in measuring a film’s impact. A highly praised film in the mountains can often be a disappointment on the ground.

A potential franchise could be formed with this concept, which is a clever idea that could have endless sequels. Netflix has proven to be just as fixated on sequels as any other studio. The specifics of the concept are currently unknown (it remains to be seen if Netflix can keep it a secret once they start promoting it), but it revolves around a suitcase. The suitcase is brought to a remote country mansion by an estranged friend who surprises everyone at a pre-wedding party. Tensions rise as they play a game that the friend insists on, something they have never seen before and must keep quiet about outside of the house. Chaos and hysteria ensue.

The contents of It’s What’s Inside contain elements of Talk to Me, Bodies Bodies Bodies, Ready or Not, Agatha Christie, and attention-seeking tactics. The exaggerated maximalism, from intrusive music to obnoxious song choices to gimmicky cutaways to loud yelling, is so overwhelming that it’s likely many Netflix viewers will click away within the first 20 minutes. The house, a cliché representation of a brash and untalented pop artist, is taken to cartoonish levels and the film lacks the necessary atmosphere for a mysterious Christie-inspired story. Greg Jardin’s fixation on garish, unrealistic multi-colored lighting is unsuccessful, especially when compared to the festival’s more successful genre film, I Saw the TV Glow, which uses color in a beautifully memorable way. The only thing that comes to mind is a fake-looking movie set.

The film-making and writing of Jardin, a first-time director with a background in television, is not the only aspect that stands out. His characters are often portrayed as lazy and one-dimensional, resembling caricatures rather than fully developed individuals – such as the shallow influencer, the free-spirited hippie, and the white man who adopts a “blaccent”. The commentary on social media feels forced and awkward, as if the script was written years ago and has not been updated since. Despite trying to capture the current cultural climate, the film often falls short and lacks the coolness it strives for. Jardin puts a lot of pressure on his relatively unknown cast, including Brittany O’Grady from The White Lotus, and while not everyone succeeds in their roles – an ambitious task for any actor – it is still an impressive display of commitment.

When Jardin allows the silliness of his concept to fully dominate and the artless bravado is toned down, there are entertaining and unexpected developments, particularly as the game becomes more complex and sinister. The characters strategizing to come out on top results in satisfying turnarounds, but also becomes frustratingly convoluted, requiring a more skilled hand in the final act of exhausting back-and-forths. The story also leads us towards a potentially groundbreaking conclusion, but instead we are left with a disappointing reveal that should have been a shocking twist.

This concept has a strong elevator pitch (it makes one wonder if future installments can further capitalize on it), but Jardin’s bold and over-the-top approach, combined with his failure to follow through, ultimately makes this a losing game.