The Green Inferno
Eli Roth's latest shock-ploitation horror film The Green Inferno pokes at modern day slacktivists using Roth's typical brand of dark humor and impressive gore effects. It's not a good movie by any means, but it is one of Roth's better projects as of late.
Horror director Eli Roth returns after a long hiatus behind the lens with his controversial cannibalistic exploitation film The Green Inferno, reminding audiences why he’s been called the king of gore through the use of exceptional practical effects and a paper-thin story that occasionally pokes clever fun at slacktivists, but mostly comes off as a mean-spirited gag. Roth hasn’t exactly lost his way, but he’s fallen far from his Cabin Fever days.
The modern use of technology has spawned a weird relationship with activism. Now, kids of today think that they’re taking a just stand by simply tweeting with a hashtag or posting pictures to Facebook.
Sometimes these kids don’t even mean what they’re saying or understand what the cause even is, but as long as it’s the trending thing they simply follow along to gain some followers or become popular.
It’s a sick realization and it’s already spawned its own word known as slacktivisim. Slacktivists would rather sit on a highway than go out and make a change, because they think if everyone else is doing it then why not?
Eli Roth‘s latest horror film approaches that lazy mentality with a sick sense of humor that only Roth can get away with.
And it’s a weird deconstruction, because Roth is not only targeting these groups of people, but he’s also catering to them. The Green Inferno sometimes wisely balances between poking fun of and embracing their ways, from views and opinions revealed in dialogue, to an ending credits filled with Twitter handles.
It’s an alienating experience that sometimes proves itself as powerful and dangerous, but mostly feels like it’s being filmed by a master craftsman that’s lost his way.
Roth’s story is light and the film is filled with mostly airless characters that matter not, which makes the killing meaningless and almost called out for. Roth is known for his dark sense of humor and The Green Inferno puts that on display in full. You’re not exactly cheering for the deaths of the idiotic slacktivists, but you might feel considerably less moved by the shocking events as they unfold, because they’re basically asking for it with their amateur antics that are foolish at best.
The Green Inferno does boast strong practical effects and lots of gore, which is a breath of fresh air for horror fans around the world. There’s plenty of mutilation and blood splatter and it’s mostly all done practically and that’s not a praise towards the film itself, but a praise towards Roth’s commitment to making a technically sound film.
The film does look a bit rough though, with a cheap look complimenting the already wooden and stiff dialogue. Roth definitely hasn’t improved in that field, but I’ve been told that this film was made on the cheap end, which makes perfect sense.
Roth is clearly paying homage to exploitation films of the past, with the gore and violence overshadowing the film’s actual story and importance and that’s fine, because Roth’s intentions are clear and he’s not looking to move you aside from having you squirm in your seat after watching someone get their eyes ripped from their skull.
The Green Inferno isn’t Roth’s return to form, instead it’s a reminder of a past time of horror cinema, where the violence and gore shocked viewers while a director had a smirk on his face the whole time. It’s a now-dead way of filmmaking that director Eli Roth shocks back to life, if only for a few short hours.
It doesn’t exactly work all of the time, but it works enough for Roth to prove his point, even if he does so in a jagged way. I can’t say that I enjoyed The Green Inferno, but I do miss the days of a less serious world, where horror films like this could be openly accepted and not considered complete cinema trash. Roth isn’t the classiest of filmmakers, but he’s one with a distinct voice that should be heard and I’m glad Jason Blum allowed this to happen theatrically and on a wide platform release.