Closer Hostel Knock Knock , Green Inferno Eli Roth is especially a cheeky attempt to pay tribute to the most obnoxious works in the history of horror cinema, the Italian cannibal films of Ruggero Deodato, such as Cannibal Holocaust . The company, often enjoyable, however, does not take all his promises
The argument:. A group of New York activists traveled to the Amazon and fell into the hands of a particularly hostile tribe ..
Our opinion: The green hell, you know? This is the recurring nickname given to the Amazon jungle in a series of fairly foul productions, often Z ( Cannibal Ferox ), from Italy. As a standard master, two films of Ruggero Deodato: The Last Cannibal World (1977) and especially the ancestor of found-footage, the revolutionary (and emetic) Tribal trip Cannibal Holocaust , to scenes of butchers (and meats!) so realistic that the Italian filmmaker was attacked by Italian justice “snuff”. The process, inspired mondos of Giacopetti ( Mondo Cane ) and a film of Umberto Lenzi ( The Man from the Deep River / Cannibalis , 1972), resulted in a ton of recipes that release the opportunists of all scruples. Imagine succeed the Screen Cannibal Ferox and The sect of cannibals (well, two Lenzi), The Mountain of the Cannibal God with Ursula Andress , The blond slave , anthropophagous Joe D’Amato, Cannibal Terror and Mondo Cannibal in Eurociné .. . The list is inter-MINABLE!
When Eli Roth, unruffled troublemaker bad taste, instigator of two “torture-porn” tortuous typical 2000s (2 Hostel ) decides to deliver a contemporary homage to the subversive kind of exploitation cinema, known for his scenes of savagery unsustainable, especially massacres of non simulated animals, which have hit the headlines in their time, the blogosphere panics. The world be ready to experience a new wave of visceral adventures on the borders of our civilizations?
At a time of globalization of cynicism and conservatism of Hollywood, the idea was nervy, even seductive. But it took us two years to gauge the result. Inextricable problems of distribution reframe the film whose ultra-violent series of reputation and diehard B, due to its presentation in Sitges, and regular interviews with the author, remains: Green Inferno remain in the drawer of his distributor for more than one year and no studio will come to his aid, because of its unfortunate content.
Finally released globally in 2015, thanks to the commitment of Jason Blum, with a progressive output, initially Latin America, then in Europe and the USA (he even featured in Deauville), the new Eli Roth, however, must be content with the label DTV bit reassuring, since it is directly through the internet box that the public will be invited to see the film on most markets around the world including France, where Wild Bunch will accompany media coverage worthy of a true “event” film, for E-cinema output (yes, the market of shame), October 16.
Let it be said, as it is perfectible, Green Inferno is a real feature film, designed for the very large screen. Surely he would have deserved to lift at least in a single room, symbolically, to mark the occasion. After all, it is rare in these times miserable found-footage, to find horror movies as ambitious and challenging as above. The summer of 2015 ( Unfriended, Poltergeist …) was shameful for the genre, and in this context the crazy offspring of Eli Roth (above its Knock Knock , he turned right after) appears as a miracle in the field of horror cinema, in its will to dare to brave the forbidden a right-thinking time, including returning gory insult to the old, worthy of this blessed era where digital special effects bloody did not exist.
Green Inferno , a film of another time? We sometimes feels, and it is not fleeting, when sequences to the claw and the texture of the cannibal movies Italians of the great time, especially when the tribal hysteria captures the protagonists (the green activists whose plane crashed in the same jungle they had come to protect, haha), collected by a tribe of cannibals in the obvious appetite.
Good movie of horror that surpasses many of navetons digging the grave of genre cinema in the 80s, this green hell is not, however radical the expected success, and arrives in fact far from reversing Cannibal Holocaust Deodato, which borrowed the documentary codes for caustic media criticism which the spectator was led to wonder about his own tendency to voyeurism
In Green Inferno , the discourse on the limits of green activism may seem relevant, but that’s not counting the annoying tendency to which adulescence Eli Roth has still not defeated, despite half a decade spent away from the camera. His humor schoolboy habits totally inappropriate in this hell of viscera are always pervasively present and the author assumes the recurrence of the comic device.
Playing on both repulsion, fear and fun, the director of Cabin Fever and misses the opportunity to frighten deep as Deodato had managed to do so, especially in the ironic use of the musical score of Riz Ortolani which created an appalling gap between the atrocity of the images and the beauty, both serene and melancholy music.
This redneck default set aside, Green Inferno advance arguments steel, especially in the very appealing cast, a final twist during the closing credits, once again tends to decrease . This insert worthy of a soap opera or a teen movie, diminishes the relevance of the film, as if calling the possibility of a sequel, which, anyway, will be hard to do. How Eli Roth he could, even for a moment, considered his film as an episode of Marvel or Hunger Games ? This will remain a mystery that we could almost spoil our enjoyment. Almost Indeed, the singularity of the free electron snarling within the current production winning.
Green Inferno shockers really belongs to the 7th art.
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