Horror That Keeps the Audience at Arm’s Length

Read Time:4 Minute, 57 Second

MOVIE REVIEW
Inhabitants
–

Genre: Horror, Supernatural, Drama
Year Released: 2025, 2026
Runtime: 1h 52m
Director(s): Matt McClung
Writer(s): Matt McClung
Cast: Josh Rivera, Anna Jacoby-Heron, Kevin Nealon, Ana Auther
Where to Watch: available on UK digital January 26, 2026

RAVING REVIEW: What happens when a horror film wants to question religious trauma but refuses to weaponize fear in service of that goal? INHABITANTS opens with a promising premise, pairing domestic unease with spiritual guilt, and initially suggests a slow-burning examination of belief systems colliding under supernatural pressure. On paper, that approach makes sense; religious horror has always thrived on conflict. In practice, though, the film rarely pushes beyond suggestion, settling into a muted exploration that drains tension rather than cultivating it.

The story centers on Francis and Olivia, a young couple attempting to build a life together while carrying incompatible spiritual baggage. Francis is a disaffected Catholic whose past refuses to stay buried, while Olivia embraces new-age practices that place her outside the worldview his upbringing demands. Their shared home becomes the battleground where belief, guilt, and repression converge. Night terrors, sleepwalking, and whispered conversations with unseen figures slowly intrude, signaling that something unresolved has followed Francis into adulthood. The setup is clear. The problem is how little the film does with it.

INHABITANTS is far more interested in conversation than confrontation. Scene after scene unfolds through extended dialogue exchanges that circle the same ground without deepening it. The film wants the audience to feel the weight of inherited shame, but it rarely dramatizes it through escalation or consequences. Instead, moments that should add dread often dissolve into quiet domestic friction, leaving the supernatural elements feeling secondary rather than invasive. Horror thrives on intrusion; here, the haunting feels “nice.”

Josh Rivera delivers a restrained performance that effectively conveys internal conflict, even when the script offers few opportunities for progression. His portrayal of Francis conveys exhaustion more than terror, which fits the character but contributes to the film’s low emotional temperature. Anna Jacoby-Heron brings a grounded presence to Olivia, making her frustration and concern feel authentic, though the character is often positioned as reactive rather than active. Their chemistry is believable, but belief alone does not generate suspense.

Kevin Nealon’s involvement stands out for the energy he brings to the film. His role introduces tonal contrast that hints at a sharper version of INHABITANTS lurking just beneath the surface. Unfortunately, he is underused, and the film retreats quickly back into its subdued cadence. Ana Auther also delivers solid work, though again, the narrative limits how much impact her character can have.

Technically, the film is competent and occasionally effective. The house is photographed as a lived-in space rather than some gothic trap, which supports the idea that horror emerges from familiarity rather than display. Sound design favors subtle disturbances over overt scares, reinforcing the film’s commitment to understatement. That choice could have worked if paired with a narrative push, but without escalation, subtlety starts to feel like hesitation.

At nearly two hours, the film repeatedly tests the audience's patience without offering a proportional payoff. Some scenes drag on well past their benefit, and conversations repeat themes without adding nuance. The result is a film that feels longer than it is, not because of complexity, but because of inactivity. Editing could have sharpened the experience; trimming even 15 minutes would have tightened focus and increased tension.

The religious horror angle, which should be the film’s defining strength, remains frustratingly surface-level. Catholic imagery and doctrine are present, but often feel generalized rather than specific. The film gestures toward institutional harm and spiritual coercion without interrogating them. As a result, the haunting becomes metaphorical without becoming personal. Horror rooted in belief systems works best when it understands those systems intimately; here, the understanding feels observational rather than lived.

None of this makes INHABITANTS an outright failure. The performances are earnest, the themes are worthwhile, and the intentions are clear. What’s missing is urgency. Horror demands pressure; trauma demands excavation. INHABITANTS gestures toward both but stops short of fully engaging either. The film feels like it wants to be careful when it needs to be confrontational.

INHABITANTS plays more like a relationship drama with supernatural ornamentation than a horror film willing to unsettle. For viewers who grew up within rigid religious environments, some moments may resonate on a personal level. For those seeking sustained dread, the experience will likely feel underpowered.

There is a stronger film buried inside INHABITANTS. What remains is a restrained, well-meaning, but ultimately underwhelming entry in the religious horror space. It is not without merit, but it is defined more by what it withholds than what it delivers.

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[photo courtesy of MIRACLE MEDIA]

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