Simon Cable wakes up in a hospital bed, confused and disoriented. He soon discovers from doctors that he has amnesia and is unable to remember the last two years of his life. Cable investigates what has happened to him and slowly pieces together his enigmatic past.
The film has generally received luke-warm reviews from online critics. It holds a 33% rating on Rotten Tomatoes. Review sites have commended the film for a rather involving first two-thirds, with the mystery slowly being revealed layer by layer, drawing in the viewer. However, some critics found the ending a let down, calling it a "gotcha" gimmick that causes "the past 70 or so minutes (to go) out the window".
Currentfilm.com gives the most positive review of the film, bestowing a rating of 31⁄2 out of 4 stars and describing the film as "an absolutely terrific thriller, and a really great surprise". The review acknowledges that there are "some minor story flaws and plot holes" but adds "that's not totally unexpected in a totally twisty film like this".
Christopher Null of Filmcritic.com brings up a strange but interesting point: "The movie is based on a play with a much different title, one that actually gives away the surprise ending."
March 2004 - Brussels International Festival of Fantasy Films
July 2004 - München Fantasy Filmfest
August 2004 - Espoo Film Festival
September 2004 - Lund Fantastisk Film Festival
The film is the English-language debut of German director Roland Suso Richter, whose previous credits include The Tunnel, After the Truth, and 14 Tage Lebenslänglich. Richter commented on the script by saying, "I was excited when I first read the script and if I can give something like that to the audience, that would be great."
Production began on June 5, 2002 in Wales on a budget of about $10 million and wrapped in the middle of July, 2002.
For the backdrop of the film, the production crew used Sully Hospital, near Penarth, Cardiff in south Wales.
Ryan Phillippe commented on filming in Wales, which was his first trip to the country, "The people are great and I have found some world-class restaurants, which is nice when you are get off from filming and want to go somewhere to relax."
Analyzing the criminal psyche is a common motif in Cooney's films and plays, and The I Inside is no exception. Though he himself is a stranger to real-life criminal trauma, Cooney explains that, "It's true that (criminal) psychology is a recurring theme of all my plays — those that aren't comedies, anyway. And while I don't have any background in it, I maintain that it's because I had such a happy childhood. It allowed me to explore the darker side of things, because I knew I would never get lost there."