The first two-thirds of Ils are truly terrifying. There is an incredible amount of suspense on display, from the opening sequence, forward. Moreau and Palud are incredibly adept at creating a tense atmosphere, which doesn't let up even slightly from the moments our protagonists find themselves trapped, to the beginning of the third act. There are long, drawn out sequences of suspense that rival absolutely anything American cinema has produced in the last ten years, and even a few genuine shocks spattered throughout. The shock sequences are so rare, however, and are built on the foundation of an incredible amount of suspense, that when they do occur, they nearly stop your heart.
The plot is so incredibly simple – A couple, living in the French countryside, is terrorized by a group of unknown assailants, hence the films vague title (translates to ‘Them'). Simple enough. It is this basic concept that carries the film through the first two-thirds of its 80 minute running time. These sequences are filled with unrelenting suspense, in which the viewer is barely given time to breathe. It's developed as a single sequence from about the twenty minute mark to somewhere around 50 minutes. This entire sequence is one of the most suspenseful I have ever seen. These events are foreshadowed by a suspenseful opening scene which serves little purpose but to establish a threat in the vicinity of our protagonists. This scene is also very suspenseful, despite its minimal purpose.
What I have not yet revealed to you, if you are unaware, is that Ils is based on true events… supposedly. As I am unfamiliar with the events that inspired this film, I can not support their validity, and any research I had attempted yielded me nothing in the way of evidence supporting these supposed truths. There is nothing that would suggest otherwise, until the films final act, when the antagonists are revealed. It is not so far fetched as to be completely unbelievable, it is simply their motivation, or lack thereof, which creates a barrier between the audience and their acceptance of what they're witnessing.
This revelation also somewhat discredits the suspense that was so prevalent earlier in the film. It is just too difficult to find the villains threatening, and in fact, I found myself getting angry at the characters for being so scared. It is here that the film's lack of characterization is such a setback. With no suspense to rely on, the film needs something more; something that didn't matter earlier in the film, when we were so enthralled by what was happening. But at this point it is too late to care about our characters or their fate, and the film's overall impact is irreparably damaged.
It is too bad, as the film showed tremendous promise for both the filmmakers and this specific film's intended emotional impact. In the end however, Ils is left feeling hollow, and perhaps even slightly boring. This is evidence of how much the final sequences discredit the films impact, as the first two thirds of the film are incredible. I am certainly curious as to what Moreau and Palud will do with their intended remake of the Pang Brothers' Eye. Underneath that curiosity, however, is the certainty that the not so well-ironed machine that is the Hollywood system will bastardize the original Asian film, and give no indication of the potential that was suggested throughout the better parts of Ils.
