[CRITICAL E-CINEMA] THE GREEN INFERNO

There is something anachronistic about seeing a film of cannibals off in 2015. This sub-genre has had a small golden age during the 70s / 80s, whose emblem is the controversial Cannibal Holocaust. Reserved to a niche reduced, this segment of the horror cinema is also a time when Italian industry was still its word to say in the productions of series B and Z. In the film landscape today, there was onlyEli Roth to come and resuscitate the film of cannibals. If it is made discrete in recent years since the successful Hostel 2, Roth is back on the front of the stage in this school year with two feature-length films that landed in the space of less than two months. The wrong and painful Knock Knock coupled with the incessant delay of THE GREEN INFERNO, hinted at a difficult return for that which was regarded from its inception as one of the new doors and banners of a horror movie without any hangups – though regressive. We almost believe that this project would never happen to our eyes. A theatrical release cancelled in favour of a box of direct-to-DVD, and final, release in e-film ( the film is available on most platforms (e-cinema ). On paper, THE GREEN INFERNO has everything to thrill fans of horror as it is vaguely presented as a remake unofficial Cannibal Holocaust from Ruggero Deodato, a work considered to be worship for questionable reasons and for whom Eli Roth was an immense affection. See rub to this special kind is equivalent to see his friend Quentin Tarantino’s approach to the western : a no-brainer.

The film opens on a scene with two natives who wander in the forest. The staging is very calm, neutral is brutally interrupted by the arrival of an arm of a tractor, such a monster metal attacker these two souls without defenses. In a plan, the registry quasi-documentary is broken. The film ofEli Roth, is annoying breakages of tones, is still at the rendezvous. The first scene, acting as a pure statement of intent, laying out the rules of what the viewer is going to be confronted. If he allows you to take the time to try to ask the characters of his small group, Roth doesn’t cause any real empathy for them. Seeing as how it takes pleasure in the torture, by the following, we say that the process is voluntary. A scene emblematic just lift the sadism of the director for his characters when a member of the group is taking a (very) strong urge to relieve himself while they are all locked in a single cage. Following gastric emptying, the natives watch them suffer and taunting with enjoyment. By close-ups on their faces, we see them look to the out-of-scope prisoners. These plans, be trivial in the logic of the assembly, to translate the feeling of the public, out of disgust, but also, and especially, in the process of making fun of them.

Past an introduction a bit long, THE GREEN INFERNO delivers fast enough its more big scene of gore. No suggestion, no finesse, Roth goes in the front-end with a passage very striking that, at this moment, the fact of thinking that one engages in a trip gore promising, going beyond what we just see. This is not the case since the sequence is oddly enough a wise, more focused on the humor. Everyone does not find an account, for the simple reason that the humor in Eli Roth ‘s succession of the grotesque, of the immature. So that from one scene to another, it oscillates between the brilliant and heartbreaking. The real problem is that one never knows to what tends completely the discourse of the film. A sudden it just cut the greens in a scene of revelation that took the lid off the leader, a blow it is size youth large ( his small group is a kind of sample of young people today ), a blow it causes a aid between indigenous people and prisoners and homogenizes humanity…

“The humor of Eli Roth oscillates between the brilliant and heartbreaking.”

So many critics or tracks of reflective, never totally assenées with a clarity of thought. It would be simpler to say, THE GREEN INFERNO, for his own good, that there is only a small horror film funny if all of these speeches were not initiated. The generosity humorous does not hide the weaknesses of the staging ofEli Roth, a banal when it is not completely bad (the crash in a plane is an ordeal). It is necessary to see how are filmed the scenes of the kitchen to detect a smoothness unexpected. Roth shows that with a banality disconcerting, the limit on the reporting of education. The plan of the father of Justine in the process of cutting a steak finds its echo in the plane of a native cutting a piece of bust grilled, and a descent human. Just ask a question too little exploited by the long-feature film : that is what it means to be human ? In any case, we do not ask questions about what is this THE GREEN INFERNO : a macabre comedy not totally successful.