Name: Get In
Genre: Thriller
Released: 2019-11-06T00:00:00+00:00
Cast: Adama Niane, Stéphane Caillard, Paul Hamy, Eddy Leduc, Hubert Delattre

The opening shot of Olivier Abbou’s Get In lingers on a key turning in a lock, the metallic click echoing like a gunshot. It’s an ominous beginning for a film that promises tension but struggles to deliver sustained suspense. The Diallo family—Paul (Adama Niane), his wife Chloé (Stéphane Caillard), and presumably their children—return from vacation only to find their home occupied by strangers who claim ownership. With no legal recourse, Paul spirals into desperation, aligning himself with Mickey (Paul Hamy), a local criminal with a taste for violence. The premise is ripe for psychological and social commentary, but Get In stumbles in execution.

Abbou’s direction often feels uneven, oscillating between moments of genuine tension and prolonged stretches of stagnation. The film’s pacing lags in the middle act, bogged down by repetitive confrontations and a lack of clear stakes beyond the Diallos’ immediate predicament. This is particularly evident in the scenes where Paul grapples with his moral compass, which, while compelling, are undercut by the film’s inability to sustain momentum.

The cinematography is serviceable but rarely distinctive. A few standout shots—like a tense standoff framed through a window—hint at what could have been, but too often the visual language defaults to generic thriller tropes. The score, meanwhile, overplays its hand with relentless, pulsing tension that wears thin quickly. This is a shame because the film’s central premise—a family fighting for their home—is inherently gripping.

The performances are where Get In shines brightest. Adama Niane delivers a standout turn as Paul Diallo, portraying a man unraveling under pressure with a raw intensity that anchors the film. His performance is particularly compelling in scenes where he grapples with his moral compass, such as when he confronts Mickey about the violent path they’re pursuing. Niane’s ability to convey desperation and fear makes Paul a relatable protagonist, even as his actions become increasingly questionable.

Paul Hamy, as Mickey, brings an unsettling charm to his role, embodying the kind of chaotic energy that could easily derail the narrative if not handled carefully. Hamy’s performance is a highlight, particularly in scenes where he manipulates Paul into committing increasingly desperate acts. His chemistry with Niane is palpable, adding a layer of complexity to their relationship that elevates the film’s tension.

Stéphane Caillard as Chloé Diallo delivers a solid but ultimately underwhelming performance. Her character feels one-dimensional compared to Paul and Mickey, serving more as a plot device than a fully realized person. This imbalance is a missed opportunity, as Chloé could have provided a crucial counterpoint to Paul’s descent into violence.

The supporting cast, including Eddy Leduc as Franck and Hubert Delattre as Eric Bolso, deliver solid performances but are given little to work with beyond their initial introductions. Leila Amara, Coline Beal, and Carine Bouquillon appear in minor roles that feel more like set dressing than integral parts of the story. Their characters lack depth and development, which further weakens the film’s emotional impact.

The dialogue is another area where Get In falters. While there are moments of sharp, tension-filled exchanges—particularly between Paul and Mickey—the majority of the conversations feel stilted and unnatural. This is especially true in scenes involving Chloé, whose character seems underdeveloped compared to Paul’s. The film’s dialogue often feels like a series of expositional exchanges rather than organic conversations, which detracts from the overall immersion.

Thematically, Get In touches on important issues but fails to explore them deeply enough. The idea of a family fighting for their home resonates with real-world struggles, but the film never fully commits to this angle. Instead, it gets sidetracked by its crime elements, which, while entertaining, lack the depth needed to make a lasting impact.

The film’s exploration of desperation and the lengths one might go to protect their family is a timely and relevant theme that deserves more attention. However, Get In never fully delves into the psychological and emotional complexities of these themes. The social commentary on housing insecurity and systemic injustice is intriguing but underdeveloped, reduced to background noise rather than a driving force.

Comparisons to other thrillers are inevitable, and Get In doesn’t hold up well against more polished efforts like The Guest or Sicario. Where those films excel in tension and character development, Get In falls short. Even within its own modest ambitions, the film feels uneven, as if it can’t decide what kind of story it wants to tell.

That said, Get In isn’t without its merits. The central premise is intriguing, and the performances by Niane and Hamy are strong enough to carry the film through its weaker moments. The film’s exploration of desperation and the lengths one might go to protect their family is a timely and relevant theme that deserves more attention.

Ultimately, Get In is a flawed but watchable thriller that suffers from a lack of focus and underdeveloped themes. It tries to straddle multiple styles—social drama, psychological thriller, crime saga—but never fully commits to any of them. This indecision leaves the film feeling unfocused, as if it can’t decide whether to be a gripping character study or an action-packed revenge tale.

The film’s strongest moments come from the performances and its central premise, but these are not enough to overcome its structural and thematic shortcomings.

Tags: thrillers, Adama Niane, Get In, Olivier Abbou, Paul Hamy, Stéphane Caillard