I’ll Eat You Up I Love You So

Entrance is a low budget horror/psychological thriller based around the life of Suzy (Suziey Block) and her being a young transplant in Los Angeles. You see her daily life as a twenty-something, mostly divided up between being a barista and taking care of her dog. On occasion, you see
her jadedly out and about in social settings, whether out with her friends or deciding to pick a guy up at a bar.

As the movie develops, you start to see Suzy feeling uncomfortable at home and around her neighborhood, hearing sounds in her home that make her feel like someone’s sneaking around without her knowledge. This goes further in a scene where Suzy is asleep with one of her friends, and you see the camera flashes, letting you know someone else IS in fact present.

(spoilers below)

Suzy decides Los Angeles isn’t much for her anymore, and that she is going to go back home to the Midwest. She and her roommate, Karen, host a dinner
party, assumedly to celebrate their time together. At the dinner party, things take a turn for the worse as far as what Suzy’s worries were.


  • The dialogue in the movie was very “real world” feeling, which built the characters in a way that felt more like people than characters on a screen. In speaking with directors Dallas Hallam and Patrick Horvath and asking about this, they said that was the exact feel they were going for, and that most dialogue was improvised. You can listen to the interview we did with them here.
  • The scenes of tension early on in the movie did lead the viewer to wonder what was going on; whether Suzy was paranoid or if there was someone in the house.
  • The feeling of home centered around her dog, Darryl. This is a feeling many people can identify with, but don’t necessarily think about at all


  • Though the dialogue was very “real world” as stated above, the content in the improvised dialogue was less than interesting and made it tough to REALLY care about the characters.
  • From a man’s perspective, the subject matter didn’t hit me very hard, simply because the film played more upon the general fears of a woman,
    which, according to Hallam/Horvath, seems to be the demographic the film really hits with.
  • The dim lighting did not help the movie whatsoever. Many scenes were a bit tough to really identify exactly where anyone was or what they were doing, until late into the scene, at best.
  • The sound led to similar issues as the lighting, with background/foreground sound really taking precedence in some scenes over
    any dialogue or character development.

If you’re a fan of the psychological thriller/horror type films, especially as a female, this movie may play very well to you. As far as myself, I was
not personally enthralled with the experience from front to back. However, I’m not a horror/slasher/psychological thriller buff, nor am I female. Hallam/Horvath certainly are the former, and did a decent job of something that may be enjoyed by the latter.

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