R, 94 mins.
2016, R, 94 mins.
Anton Yelchin as Pat / Imogen Poots as Amber / Patrick Stewart as Darcy / Alia Shawkat as Sam / Mark Webber as Daniel / Joe Cole as Reece / Macon Blair as Gabe
Written and directed by Jeremy Saulnier
I’ve developed an awfully thick skin over my last 12 years as a film critic, so much so that most subject matter and /or content rarely unnerves me to the point where I have to nervously watch a film through my fingers.
Saulnier’s GREEN ROOM is a different beast altogether.
I watched a majority of it through my fingertips, and it takes a
special unflinchingly raw and unnervingly violent film to elicit such a
response from me. I didn’t
enjoy watching it, per se, but as a primal exercise in nail biting tension
and dread, this invasion horror thriller is quite masterfully conceived
and impeccably executed.
has made two previous films, the most recent being his critically lauded
2014 revenge thriller BLUE RUIN. GREEN
ROOM seems like a natural progression for the inordinately talented
filmmaker, seeing as it’s genre effort that’s so cruelly efficient
that it will take a very long time for it to exit viewers’ systems.
On one level, it offers up delightfully macabre B-grade levels of
grindhouse action as a thriller, not too unlike classic John
Carpenter-ian films of yesteryear (ASSAULT ON PRESCIENT 13 comes
immediately to mind), not to mention that its invasion elements and
sensation of characters feeling horrendously trapped while battling hordes
of enemies echoes NIGHT OF THE LIVING DEAD (with neo-Nazis substituted in
for zombies). Sprinkle in
some obvious overtones of STRAW DOGS and the more subtle ones of DELIVERANCE
and what we’re left with in GREEN ROOM is a wickedly inventive mishmash
of ageless horror thriller staples that somehow never feels stale or clichéd.
This, of course, is mostly to do with the fact that Saulnier is clearly
working on a whole other upper echelon apart from his contemporaries.
storyline here is deceptively simply in terms of setup.
We quickly meet a struggling group of punk rockers in a band called
The Ain’t Rights that are aimlessly touring from one low-rent gig to the
next in search of a big proverbial payday to keep their music afloat.
Pat (Anton Yelchin), Sam (Alia Shawkat), Reece (Joe Cole) and Tiger
(Callum Turner) have hit career and financial rock bottom of the lowest
variety (we first see them unconscious in their van that apparently ran
itself off of the road when one of them passed out behind the wheel while
in an inebriated state). They’re
so dirt poor that they can barely afford food and are forced to siphon gas
from parked cars they come across. In
short, The Ain’t Rights just may be the least glamorous band in movie
history. Last I checked, most successful groups don’t nearly come to
physical blows when it comes to deciding which member gets the last
package of ramen noodles.
desperate for some sort of lucrative gig, the group decides to take the
advice of a punk rock journalist and accept one at a white supremacist
compound in rural Oregon. It’s
not exactly what the group wanted, but it pays relatively well; all they
have to do is show up and play. When
they arrive at the compound – literally in the deepest recesses of
nowhere – they fully begin to realize what a potentially hostile
skinhead-laced environment they’re in, but at the height of their
youthful stupidity the band decides to kick off their show with a cover of
the Dead Kennedy’s “Nazi Punks Fuck Off.”
Obviously, the ravenous crowd doesn’t take
kindly to the set. They
manage to finish their gig without being beaten alive by the skinhead
masses, and afterwards they go to collect their $300 so they can
abruptly leave. Pat goes back
to the green room to fetch a member’s smart phone that was left behind,
but when he arrives he accidentally stumbles upon a rather grisly murder
The club’s goons swoop in to secure the frightened band and force
them against their wills to stay until the owner Darcy Banker (a
magnificently against type Patrick Stewart) arrives.
He inevitably decides that they have to be “eliminated” as to
not squeal to the cops. Predictably,
all hell breaks loose.
thing that GREEN ROOM does with such a calculating Hitchcockian precision
is create an immediate sense of hopeless claustrophobia and a daunting fear of
survival within the room itself. The
band eventually manages to steal a gun away from one of the club’s
rather large enforcers, locks the door and secures the room, only to then
face a whole new set of moral and physical challenges when Banker
inevitably unleashes his minions upon them.
Compounding an already dire set of circumstances is the fact that
the murder victim’s friend (Imogen Poots) is also in the room and wants
swift and brutal vengeance.
When Banker’s verbal negations with the band (initially
– and falsely – promising their safety) collapses, the film then
segues into high gear and into a series of heart-stopping and monumentally
distressing cat and mouse action sequences, during which time Pat
(assuming a leadership role) and his squad use their wits (and whatever
makeshift weapons they have at their disposal) to find some way of
escaping. Chillingly, Banker
doesn’t make it easy, as he sends in men with shotguns, knives,
machetes, and even vicious attack dogs that immediately gorge of jugulars
at the drop of simple verbal command.
ROOM refreshingly absconds away from overused genre conventions and
formulaic narrative beats, even though its premise, on paper, has
literally been done to death. There
are no tangible and black and white “heroes” and “villains” here;
granted, Banker and his skinhead posse are beyond pure evil. The youth that make up The Ain’t Rights are not
squeaky-clean protagonists, though, and are a fairly un-heroic motley
cruel of drug addicted, law breaking, and anti-conformity hoodlums.
They’re also pretty dim-witted early on, never fully
understanding how playing a rigorously anti-Nazi song would alienate them
from an already malicious flock that’s watching them on stage.
Even the film’s presentation of its chief antagonist is richly
atypical and rather inspired. Stewart’s
Banker is a truly frightening human being.
No question. However,
he doesn’t go in for the slaughter right from the get-go, and rather
calm-spokenly tries to negotiate the band’s surrender to him (as hollow
as these negotiations eventually turn out).
Yet, what makes Banker such a terrifying movie villain is his
perpetually calm demeanor. He
orders the execution of the band as casually as he would place an order at
a fast food restaurant. It’s
clear that he’s ordered countless murders before…and he’s good at
covering his tracks. Stewart meticulously plays his baddie with maximum stillness
and unflappable poise and never reduces the part down to woeful, camera
mugging theatricality; he’s hauntingly effectual here.
feral ferocity that GREEN ROOM achieves is pretty matchless.
The sheer barbarism becomes very difficult to sit through as
the story progresses from one inhuman extreme to the next…but I think
that’s the point. Saulnier doesn’t shamelessly cheapen his film with artery
spewing, bone crunching violence. The
animalistic bloodshed in GREEN ROOM rarely feels unsophisticatedly
sensationalistic as a piece of vile torture porn. The film almost
becomes more of a commentary on cruel human nature and a meta examination
on movie gore itself. When the
so-called “heroes” start killing off their bloodthirsty attackers, it
rarely feels truly uplifting or exhilarating.
They don’t want to kill and are essentially forced to reluctantly
do so in order to stay alive. And their
own murderous acts fundamentally change them in the process.
By the time GREEN ROOM careens towards its disquieting climax you
gain an unsettling sense that these survivors have become as savagely cruel as their
pursuers out of necessity.
GREEN ROOM possesses an uncommon intelligence regarding its
characters and subject matter that most other similar genre films lack
I’m not sure that I’ll ever want to watch GREEN ROOM again…at least for a while. Yet, that’s not to its detriment. It’s a blunt forced, teeth clenched, white knuckled, and anxiety inducing nightmare of a film ostensibly designed to make us squirm and feel queasily uncomfortable. As mentioned, the film has exploitation film trappings, but Saulnier rises well above them with his exquisitely confident handling of the inherent material. I felt the need to immediately go home and shower after watching GREEN ROOM, and that’s, oddly enough, an esteemed compliment; the film coats viewers with torment in ways that few other films do.