Reunions—they're always a gamble, aren’t they? Whether it’s the official 20-year high school reunion, where people inevitably compare how much they’ve aged or gained weight, or a casual gathering of friends who haven’t shared a room in years. The mix of social awkwardness, personal insecurities, and unresolved tensions can create a volatile atmosphere, and filmmakers have long capitalised on this. Slaughter High (1986) is an iconic example of the 80s reunion slasher, while Stephen King's It stands out as the most famous entry in this niche sub-sub-genre, spawning a beloved 1990 mini-series and recent box-office hits in 2016 and 2017. Films like The Invitation (2015), Bodies Bodies Bodies (2022), and The Blackening (2023) further reinforce the idea that rekindling old friendships often leads to trouble—there’s just too much emotional baggage involved! Greg Jardin’s It’s What’s Inside, which generated buzz after a strong Sundance premiere, is the latest reminder that sometimes it’s best to decline those nostalgic invitations.

 

Reuben (Devon Terrell), a rather handsome man in his late twenties, is looking forward to celebrating his upcoming marriage with a close-knit group of old college friends. Rather than opting for the traditional all-male stag do—or Bachelor Party, as it’s known in the U.S.—he chooses to host a more refined gathering at his luxurious countryside estate. The guest list is small, comprised of friends who once shared a deep bond, though time has caused their relationships to wane. Among them are Shelby (Brittany O’Grady) and Cyrus (James Morosini), a couple since their college days, although recent tensions have cast a shadow on their relationship. Cyrus, it seems, might still harbour feelings for Nikki (Alycia Debnam-Carey), a beautiful and semi-famous influencer who is also attending. Joining the group is Dennis (Gavin Leatherwood), a wealthy but directionless friend, Maya (Nina Bloomgarden), a free spirit, and Brooke (Reina Hardesty), who has a bit of a thing for the groom-to-be. The final guest is Forbes (David Thompson), a former classmate who was expelled on their last day of college and has been absent from their lives ever since. Forbes arrives carrying a mysterious suitcase, eager to introduce a game he insists they all play. However, this isn’t a big game of KerPlunk. This involves attaching electrodes to yourself and swapping bodies with your mates. I mean, what could go wrong?

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It's What's Inside can be best described as horror-adjacent. While it may not fully commit to the genre, its blend of high-concept plotting, seen in recent genre films like Totally Killer, Freaky, and Happy Death Day, along with its youthful confidence means that it ticks enough boxes to be of interest though. Comparisons to Halina Reijn’s surprise 2022 hit Bodies Bodies Bodies are not without merit too. At its heart, It's What's Inside is a relationship drama centred on a diverse group of sexually liberated Gen Z characters. Though they appear to share strong, long-standing connections, beneath the surface, unresolved tensions and hidden conflicts simmer.

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There are no traditional horror scares, jump moments or anything approaching terror or dread but both films capably layer up the tension and mystery enough to keep the audience from ever getting bored. They almost feel like a bit like an old-fashioned whodunit. The aesthetic and visual style of both films are strikingly similar too, featuring dark rooms, neon lighting, quick cuts, rapid editing, and colorised shots. This vibrancy and energy will undoubtedly resonate more with younger audiences, though it remains grounded enough to avoid being overbearing—unlike some of its contemporaries (Babysitter 2, we’re looking at you). These stylistic similarities are more to do with modern film-making however, than any intent to connect the two films in any way.

While BBB (it’s just quicker to write that at this point) masquerades as a slasher film for much of its runtime, incorporating occasional gore and violence, It's What's Inside leans heavily into sci-fi territory in both its tone and plot. The introduction of the ‘game’ immediately places it within this realm, and the ensuing paranoia and reality-bending twists further reinforce this direction. This fact may disappoint those looking for the hard edges of something like Talk to Me but to do so would involve misinterpreting the kind of film this is. It’s an intriguing, trippy mystery drama with a Netflix sheen. Those sorts of films aren’t to everyone’s liking but for those more interested in character dynamics and sexual tension than blood and guts, you’ll get on just fine with it.

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Despite its promising premise, the film ultimately falls short of its full potential. The early stages of the body swap concept feel fresh and entertaining, but it doesn’t take long before the narrative begins to feel repetitive. Characters meander through scenes, encountering friends and attempting to figure out who’s really inhabiting whom. While the final act does ramp up the tension, there’s a noticeable lull in the middle where the pacing drags. Additionally, the characters could have been more engaging. Though their shallow and vapid qualities are intentional, it’s unfortunate that they also come across as somewhat bland and uninspired. If Jardin's script had matched the vibrancy and flair of his direction, this could have easily been a four-star film. Alas, it narrowly misses the mark—still, it’s worth a watch.