Green Inferno, The (2013) - Dread Central
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Green Inferno, The (2013)

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The Green InfernoStarring Lorenza Izzo, Ariel Levy, Aaron Burns, Sky Ferreira

Directed by Eli Roth


Eli Roth is a divisive figure in the horror genre. While some love his morbid sense of humor and obsession with blood and gore, others finding his juvenile obsession with violence a bit tedious and overdone. Given that, it should be said that I love Cabin Fever and the first two Hostel films, though I fully acknowledge that they are fun, exciting, and at times genuinely funny films that have helped to renew an interest in blood and guts.

After a six-year absence from feature filmmaking, Roth is back with The Green Inferno, an homage to 70s era cannibal exploitation films that follows a group of college-aged peace activists as they attempt to effect change in the jungles of Peru. The home of an isolated indigenous tribe is in the process of being destroyed, and armed with chains, locks, and a hell of a lot of misguided passion, the group members make their way to the jobsite, blow up a couple of bulldozers, and chain themselves to some trees. They succeed (presumably), but their victory celebration is cut short as the plane they’re on crashes, subjecting them to the unseen dangers of the jungle and the very tribe they fought so hard to protect. Kidnapped and taken back to their village, those that survived the plane crash must try to find a way out before they’re killed and cannibalized (hopefully in that order).

The Green Inferno represents a director who is making no attempt to improve his craft beyond simple shock for the sake of shock, which is fine if that’s your wheelhouse. The requisite torture and extreme violence are there, from a student accidentally running into a propeller to eyeballs being ripped out and limbs being hacked off before being roasted for the enjoyment of the tribe. With incredible practical effects by Greg Nicotero and Howard Berger, severed heads, burnt torsos, and plenty of blood are served up with remarkable detail. Eli Roth knows gore, and he knows how to pace it out to keep it interesting without becoming overbearing, but with each movie it becomes clear that’s all he knows.

The Green Inferno 2013 ReviewThose going in expecting poignant commentary will be disappointed, but that’s to be expected. That doesn’t mean there isn’t any; it’s just that it makes absolutely no sense within the context of the film. He attempts to shine light on the problem of industrialization and basic human meddling in the affairs and lives of others not like us, but the ending of the film completely negates any point he’s trying to make. It’s an attempt at redemption for the character who, despite the horrific ordeal she just endured, apparently never wavered in her desire to save this tribe. Admirable, sure, but the whole thing feels tacked on as an afterthought to give the film more of a point than there should be beyond simple shock value.

This utter contempt for the viewer, however, extends far beyond its bungling of the themes intrinsic to the content, especially within a contemporary light. The first act of the film is a laughable mess, a rushed showcase of poor acting and dialogue that certainly belies Roth’s ability to construct characters that aren’t absolutely wretched. Every line of dialogue is forced, every character an annoying caricature of the worst kind of “save the planet” stereotype you see roaming around your college campus. It’s hard to sympathize with their plight when you want all of them to die. It can be argued that the acting is simply keeping in tune with its inspiration and thus not open to criticism, but this isn’t a 70s movie, nor is it a Star Wars film. Bad acting does not help, especially when the closest The Green Inferno gets to being a true representation of 70s era exploitation is that it’s trying to be.

I’m not too familiar with these films aside from Cannibal Holocaust, but it just seems that beyond its content, it’s nothing more than a “teens in peril” film set in the Peruvian jungle, rather than a true homage. As a director, Eli Roth is perfectly content with remaining on his own little island, surrounded by a river a blood that, at least from his perspective, is impossible to cross.

1 1/2 out of 5

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IAMX’s Alive in New Light Review – A Dark, Hypnotic, and Stunning Musical Endeavor

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Recording eight albums is an achievement no matter the artist, group, or band. This is especially true for Chris Corner’s IAMX, his solo project after the trip hop group Sneaker Pimps, which has enchanted listeners since 2004’s Kiss + Swallow with its dark electronic aesthetic. There’s something fascinating about the music Corner puts out as IAMX. Perhaps it’s the underlying melancholy that seems to pervade the music, almost certainly a result of the musician’s battle with depression and chronic insomnia [Source]. Perhaps it’s the unexpected melodies that reveal themselves with each new measure. Whatever it is, IAMX’s music is a constant delight.

On Alive in New Light, Corner reveals that his eighth album was a product he created as a way of “…breaking free from demons that have long plagued him,” per an official press release. Strangely enough, this uplifting attitude may easily be overlooked but repeat listens unveil a sense of hope and wonder that are simply breathtaking. The title track echoes with almost angelic choir pads that positively shine as Corner exultingly cries in a shimmering falsetto, “I’m alive in new light!” This comes after the Depeche Mode-esque “Stardust”, which offers the first collaboration with Kat Von D, whose pure voice is a beautiful addition to the pulsating track.

The third track, “Break The Chains”, has an opening that immediately called to mind Birds of Tokyo’s “Discoloured”, which is meant as a compliment. It’s followed by the Nine Inch Nails influenced “Body Politics”, which meshes Corner’s crooning vocals with a 90’s industrial backdrop. “Exit” has an almost sinister progression lurking in the background that builds to an aggressive, in-your-face third act. The cinematic Middle Eastern flairs of “Stalker” mutate effortlessly into a heartbeat pulse that features back-and-forth vocals between Corner and Von D. The haunted circus vibe that permeates through “Big Man” is mirrored by its playful gothic aura, ghostly “oohs” and “aahs” sprinkled carefully here and there.

While the album has been a delight up to this point, it’s the final two tracks that took my breath away and left me stunned. “Mile Deep Hollow” builds layer after layer while Corner passionately cries out, “So thank you/you need to know/that you dragged me out/of a mile deep hollow/and I love you/you brought me home/because you dragged me out/of a mile deep hollow.” The way the song’s melodies back these wonderfully uplifting lyrics feels grand and epic, as though a journey is coming to an end, which is where “The Power and the Glory” comes in. Far more subdued, it’s a beautiful song that feels almost like a religious experience, a hymn of a soul that is desperate to claw its way to salvation and escape a life of pain and darkness.

What makes Alive in New Light so wonderful is how much there is to experience. I got the album and listened to it no less than five times in a row without pause. I simply couldn’t turn it off because each return revealed something new in the music. Corner also makes fantastic use of Von D’s vocals, carefully placing them so as to make them a treat and not a commonplace certainty.

While some may be disappointed that there are only nine tracks, each of the songs is carefully and meticulously crafted to be as powerful and meaningful as possible. It really is a stunning accomplishment and I’m nothing short of blown away by how masterfully Alive in New Light plays out.

  • Alive in New Light
5.0

Summary

IAMX’s Alive in New Light is a triumph of music. Full of beauty and confidence, it doesn’t forget the foundation that fans have come to know and love for over a decade but instead embraces that comfortable darkness with open arms. Corner states that this album was a way to break free from his demons. It certainly feels like he’s made peace with them.

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The Hatred Review – A History Lesson Dug Up From The Depths Of Hell

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Starring Zelda Adams, Lulu Adams, John Law

Directed by John Law


I don’t know about the scholastic interests the masses had (or have) that read all of the killer nuggets that get cranked out on this site, but when I was an academic turd, one of my true passions was history, and it was one of the only subjects that managed to hold my interest, and when the opportunity arose to check out John Law’s ultra-nightmarish feature, The Hatred – I was ready to crack the books once again.

The setting is the Blackfoot Territory in the late 1800s, and the pains of a lengthy conflict have taken their toll on the remaining soldiers as food has become scarce, and the film picks up with soldiers on the march in the brutal cold and snow covered mountainside. In tow is a P.O.W. (Law), and the decision is made by the soldiers to execute him in earnest instead of having to shorten their rations by feeding him, so he is then hung (pretty harshly done), and left to rot as the uniformed men trudge along. A short time later the group encounters a small family on the fringes of the territory, and when the demands for food are rebuked, the slaughter is on and the only survivor is a young girl (Adams) who prays to an oblivious god that she can one day reap the seeds of revenge upon those who’ve murdered her family. We all know that there are usually two sides to any story, and when the good ear isn’t listening, the evil one turns its direction towards those who need it most, and that’s when the Devil obliges.

The answer to the young girl’s prayers comes in the resurrection of the prisoner that was hung a short time ago, and he has been dubbed “Vengeance” – together their goal will be achieved by harshly dishing out some retribution, and the way it’s presented is drawn-out, almost like you’re strapped into the front-row pew of a hellfire-cathedral and force-fed the sermon of an evil voice from the South side of the tracks. It’s vicious and beautiful all at once, Law’s direction gives this visually-striking presentation all the bells and whistles to please even the harshest of critics (hell, you’re reading the words of one right now). The performances, while a bit stoic in nature, still convey that overall perception of a wrong that demands to be righted, no matter how morally mishandled it might be. Overall, I can absolutely recommend The Hatred for not only those wanting a period-piece with ferocious-artistry, but for others who continue to pray with no response, and are curious to see what the other side can offer.

  • Film
3.5

Summary

The Hatred is a visually-appealing look into the eyes of animus, and all of the beauty of returning the harm to those who have awarded it to others.

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Before We Vanish Review – A Quirky and Original Take on Alien Invasions

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Starring Masami Nagasawa, Ryûhei Matsuda, Hiroki Hasegawa

Written by Kiyoshi Kurosawa

Directed by Kiyoshi Kurosawa


During the J-horror rampage of the late 90’s and early 2000’s, Kiyoshi Kurosawa’s Kairo (aka Pulse). A dark, depressing, and morose tale of ghosts that use the internet to spread across the world, the film’s almost suffocatingly gloomy atmosphere pervaded across every frame of the film. Because of my love of this film, I was eager to see the director’s upcoming movie Sanpo Suru Shinryakusha (aka Before We Vanish), which follows three aliens who recently arrived on Earth and are preparing to bring about an alien invasion that will wipe humanity from the face of the planet. Imagine my surprise when the film turned out to be barely a horror title but was instead a quirky and surreal dramedy that tugged at my heartstrings.

Admittedly, I was thrown completely for a loop as the film begins with a scene that feels perfectly at home in a horror film. Akira (Tsunematsu), a teenage girl, goes home and we enter moments later to blood splashed on the walls and floor and bodies strewn about. However, the disturbing visuals are spun around as the young girl walks down a highway, her clothes and face streaked with blood, Yusuke Hayashi’s music taking on a lighthearted, almost jaunty attitude. From there, we learn of the other two aliens (yes, she’s an alien and it’s not a secret or a twist, so no spoilers there): Amano (Takasugi), who is a young man that convinces a sleazy reporter, Sakurai (Hasegawa), of his true form and tasks Sakurai with being his guide, and Shinji (Matsuda), the estranged husband of Narumi (Nagasawa).

What sets these aliens, and their mission, apart from other invasion thrillers is their means of gathering information. They’re not interested in meeting leaders nor do they capture people for nefarious experimentations. Rather, they steal “concepts” from the minds of people, such as “family”, “possession”, or “pest”. Once these concepts are taken, the victim no longer has that value in their mind, freed from its constraints.

While this may seem like a form of brainwashing, Kurosawa instead plays with the idea that maybe knowing too much is what holds us back from true happiness. A man obsessed with staking claim to his family home learns to see the world outside of its walls when “possession” is no longer a part of his life. A touchy boss enters a state of child-like glee after “work” has been taken. That being said, there are other victims who are left as little more than husks.

Overly long at 130 minutes, the film does take its time showing the differences between the aliens and their individual behaviors. Amano and Akira are casually ruthless, willing to do whatever it takes to send a beacon to begin the alien invasion, no matter how many must die along the way, while Shinji is the curious and almost open-minded one, whose personal journey finds him at one point asking a priest to envision and describe “love”, a concept that is so individualistic and personal that it can’t be taken, much less fathomed, by this alien being. While many of these scenes are necessary, they could have easily been edited down to shave 10-15 minutes, making the film flow a bit more smoothly.

While the film begins on a dark note, there is a scene in the third act that is so pure and moving that tears immediately filled my eyes and I choked up a little. It’s a moment of both sacrifice and understanding, one that brings a recurring thread in the story full circle.

With every passing minute, Before We Vanish makes it clear that it’s much more horror-adjacent than horror. An alien invasion thriller with ultimate stakes, it will certainly have appeal to genre fans. That being said, those who go in expecting action, violence, and terror will certainly be disappointed. But those whose mind is a bit more open to a wider range of possibilities will find a delightful story that attempts to find out what it means to be human, even if we have to learn the lesson from an alien.

  • Before We Vanish
4.0

Summary

Before We Vanish is a beautiful, wonderful tale that explores what it means to be human when faced with the threat of extinction.

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