INNER DEMONS tells the story of teenager Carson, who has become a heroin junkie. Her devout parents have agreed to let her get treatment within the framework of a reality show that follows the rehabilitation of addicts. Eventually, it turns out that her problem is more than just a drug addiction.
This found footage film connects two subjects which, in retrospect, are such a natural fit that it seems strange that they were not combined before in horror (to my knowledge): substance addiction and demonic possession. Thus, the brilliantly chosen title attains both a metaphorical and a literal meaning.
There are several good found footage horror movies dealing with demonic possession or exorcism, such as THE LAST EXORCISM (2010), THE POSSESSION OF MICHAEL KING (2014) and THE DEVIL'S DOORWAY (2018).
Part of what makes these movies so good is that each successfully finds a novel angle by which to approach a well-worn familiar subject. DEMONS joins this eclectic group by means of a novel premise, one according to which a woman becomes a substance user not to get high but to keep a literal demon inside her at bay.
The framing of the story within a reality show provides the justification for the found footage format. Technically, this movie is executed well: the acting is convincing, the production values good, the pace just right and the cinematography appropriate to the format.
Once the demonic aspect comes to the fore, there are a few cliché CGI effects to convince us that the demon is real, but I found them altogether unnecessary if not cheapening. Other than that, the movie proceeds quite well until the end of the second act.
At that point, Carson gets expelled from her treatment center and the cameraman who tries to help her gets fired, and from then on the movie becomes increasingly more implausible on several fronts.
One implausibility concerns the justification for filming, since the reality show crew reason is no longer operable. But I tend to be forgiving of that because I would rather be able to see what happens than be constrained by realism on that point.
Another implausibility concerns the character arc of the cameraman: his actions late in the movie reflect a person so different from the way he is presented at the beginning that it becomes unconvincing.
Finally, the "twist" which reveals how Carson got possessed requires a bit of suspension of disbelief. Moreover, it raises the question of why she herself never told anyone about earlier.
The movie ends on a note of true horror which, I suspect, only because it was preceded by a weak third act, has turned off a lot of critics. I believe that the same ending with a strong third act, one that somehow overcame the plausibility problems, would have been received well.
Although this falls short of being a good film, found footage fans and those who like possession movies might still enjoy it.
