Published on June 23rd, 2014 | by Allan Brown2
EIFF 2014: The Green Inferno Review
Movie Review: The Green Inferno (2014)
Running Time: 100 mins
Director: Eli Roth
Writers: Eli Roth, Guillermo Amoedo
Cast: Lorenza Izzo, Ariel Levy, Daryl Sabara, Kirby Bliss Blanton, Sky Ferreira, Magda Apanowicz, Aaron Burns, Richard Burgi
Director Eli Roth (Hostel) once again treads familiar ground with the brand of spatter-house horror that he has become synonymous with. Despite the substance void and mass predictability associated with such films, Roth injects the right cocktail of fun and gore; to not only satisfy his army of dedicated fans, but possibly several newcomers too.
The story follows Justine (Lorenza Izzo), a New York City college student who, along with a group of fellow campus activist’s – led by the egotistical Alejandro (Ariel Levy), decide to embark on a trip to the Peruvian rainforest. Their mission; to prevent the logging company from not only eradicating a huge area of Amazon rainforest, but who also threaten the existence of local indigenous tribes. However, when their plane inadvertently crash lands deep in the lush jungle, the stricken survivors soon realise their real battle for survival has only just begun.
Roth’s wonderfully Ominous panoramic opening title sequence (A clear nod to Kubrick’s The Shining opening sequence) presents the beautifully perilous unmapped landscape of below, as a pathway of the horror that will duly follow. These shots along with the many candid depictions of village life, its sense of community and its macabre traditions, are crafted with skill and vigour, as we anxiously wait perched at the edge of our seats for the inevitable to begin. However, to get to this point we trudge through almost 40 minutes of tedious melodrama and hackneyed stereotypical characterisation. Although this time is used to set up the play and outline the precession’s, not the ham-fisted dialogue or its one dimensional characters have the depth or are interesting enough to shoulder the movie for this length of time.
However, when the Cannibal Holocaust action takes over Roth once again comes in to his own. Scenes of torture, mutilation and unhinged gore take centre stage, as the director delivers a heightened sense of tension and horror that is almost unwavering. While these scenes are indeed shocking, nauseating and deliberately uncomfortable, Roth interjects them with well timed humour, or comedic set-pieces that are a delight to watch unfold. These tonal shifts from horror to comedy are now common place with such genre films, but their success are more often than not, hit or miss. Roth, here, knocks these scenes out the park.
Summary: All in all, Eli Roth sticks to what he does best, and despite there being a lack of originality on show, The Green Inferno hits all the right notes for the sub-genre it firmly plants itself in.