Derrière la scène

Besides the notable cast, Jeremy Saulnier's Green Room is most likely closer to his 2007 horror comedy Murder Party than his sleeper 2014 thriller Blue Ruin. One of the most pleasant surprises of last year, it was very nice to see that Saulnier managed to gather up a follow-up in a relatively quick time – the gap from festival run to general release date notwithstanding. Green Room continues the vein of comically inept people in violent situations, but it's too crowded and lacks the subversiveness that made Blue Ruin so riveting. More characters means more bloodshed, but it uses that a crutch to get easy thrills rather than spending time getting us invested. Nevertheless, on concept alone it's destined for cult status, but lets hope Saulnier has a better idea up his sleeve next.

Set in a day or two on the frugal tour of a punk band – they appear to be entirely fueled on stealing gas from other cars – including Anton Yelchin, Alia Shawkat, Callum Turner and Joe Coe, they're very young, semi-talented, with a modest following but very little prospects. They're just in it for the thrill of the moment onstage. From a tip of a journalist after a gig is cancelled, they play a show at a neo-nazi venue just to get by. They tease the crowd with anti- white-supremacist lyrics, but they're in no real danger until one of the band members accidentally stumbles upon a murder in the bar's green room. They're held hostage, helped by a friend of the deceased played by Imogen Poots, until it becomes clear that the supremacist's only option – lead by Patrick Stewart – is to leave no witnesses and frame the band for everything. Cue a relentless bloodbath and a grudging cleanup.

While the first gore scene is certainly stomach churning, the film regrettably relies on a palpable sense of dread over taunt tension. Its ultimate payoffs just have shock value rather than anything more gratifying, thereby drowning out its small comic elements. This is a very familiar brand of storytelling, and Saulnier definitely raises it from feeling pedestrian but it doesn't go much further than that. For one, I really wish he had shot it himself. While Blue Ruin has much more patience, Saulnier's own photography in his hands boasted more cinematic shots than the most expensive and lavish blockbusters. It was vivid and atmospheric. Instead of atmosphere, we get noise in Green Room. He trades the camera to Sean Porter, who did an otherwise great job with this year's Kumiko the Treasure Hunter, but it lacks the contrasts and focus to make it as effective despite the abundance of opportunities.

The film makes a wise choice to give every character a hint of humanity, including the supremacists, as this could have otherwise been a very unsympathetic batch of characters to follow. However, muddy motivations make it difficult to latch onto anybody when a few odd decisions are made. Their mutual efforts to outwit aren't too witty. The dialogue needed a lot of work, since it wasn't interested in getting deep under the character's skin, or mostly shredded to give the actors more breathing room. It's still an engaging film at least. Blue Ruin's lead Macon Blair is an understated highlight, while Patrick Stewart clearly channels Heisenberg without forcing it. Anton Yelchin and Alia Shawkat are the least likely punk rockers, but the latter makes it work by being the entrepreneurial boss while Yelchin's vulnerability makes him a natural underdog. Imogen Poots is usually irritating, but is only mildly irritating here. Unfortunately, Green Room runs thin the further it goes along, and severely lacks the potency that made Blue Ruin a treat. It's an average thriller, but an above average horror film.

7/10

Green Room (2015)

*** 1/2 (out of 4)

After a disastrous show, a broke punk rock group takes a job out in the woods where they will be playing for some "political" people. After the set one member of the group sees something he wasn't supposed to so the owner (Patrick Stewart) sets loose some goons to try and kill the band.

GREEN ROOM might not sound like it has the greatest story ever written but writer-director Jeremy Saulnier actually makes one of the more impressive thrillers in recent years. I'm sure many people will call this a horror movie, which is understandable due to the extremely gory violence but it also works perfectly as a tense thriller. What I enjoyed most is that the story itself is quite simple but the director does wonders with it and proves that as long as something is well-made anything is possible.

The film has become somewhat notorious due to its violence and I think it's going to turn a lot of people off but if you've got the stomach for it then you're going to be in for a treat. Unlike the SAW movies this one here isn't showing violence just for the shock factor but it uses it to keep the viewer off guard and not knowing where the next violent twist is going to come from. There are some pretty brutal deaths here but all of them happen for a reason.

The film's plot certainly keeps you off guard because you're introduced to this band and other supporting characters but you'll never be able to guess who the hero is, who is going to survive until the end and who will make it out alive. In most thrillers you know who will be walking away at the end here but that's not the case here. The level of surprise is a major plus and the director uses this to help build up additional suspense. The entire cast and especially Anton Yelchin, Joe Cole and Alia Shawkat are extremely good. Stewart is also very cold-blooded and sinister as the leader.

GREEN ROOM had a lot of hype as it was released to theaters and it certainly deserved ever bit of it. The film is certainly unpleasant at times but it's so well-made and intense that it really works wonders.

This was on my to-watch list for quite a while before I gave it a chance. Holy crap this movie is good. Not ten stars good, obviously, but man it throws some curve balls. All of the actors were competent and believable. The tension builds and builds. The ending was stereotypical but didn't detract from the film at all. Wonder how much time Patrick Stewart had to spend in makeup to play a skinhead lol.

A punk band are on tour trying to build up a following and get the 'vibe' going. It is going down like a pork pie at a bar mitzvah and then they get offered an actual paying gig; only it is out in the wilds of the Pacific North west of America. On arrival it looks a bit down market to be honest.

Then they sort of realise that they might be playing to some sort of white supremacists or something and yet decide to carry on – after all they are guaranteed a pay day. Then they stumble into a room where a crime has been committed. Now they are the only non locals to have seen it and all of a sudden they go from being guests to being in deep trouble.

Now I thought this was going to be a slasher horror type and so was a bit non plussed at the thought. However, it is a rollicking and very tense thriller. There are some superb performances here too. Macon Blair as the well meaning MC is superb – but he is always excellent and Patrick 'beam me up Scotty' Stewart (I know he doesn't use that line) is deliciously ambiguous. This is a case of ordinary people having to do extraordinary things and it all hangs together really well – so an easy one to recommend.

When it comes to any kind of movie confined to a small space, there has to be something interesting and foreboding about that space. With the advent of modern technology it is getting harder and harder for the "middle of nowhere" horror setting to be realistic anymore. So when you see something like Green Room, it gives you an appreciation of just how harrowing it can be when we think our technology can save us, but can't.

Green Room combines some of our worst fears into one horrifying platter. Middle of nowhere setting? Check. Ominous weather? Check. Evil people waiting to end your life? Can't get any worse than gun wielding Nazis with ravenous dogs. Compelling and realistic bad guy? Huge check. The violence is also compelling and brutal as well, leaving one in abject horror over the sight of someone with a knife in their head or when dogs start ripping someone apart. At no point during the film did the tension feel forced or ever let up. The stakes were appropriately raised when needed, and that is when we got Patrick Stewart in all his glory.

Normally, we don't see Stewart in this kind of role. He has been a bad guy before but nothing like this. While he may be a 70-year old man, when he enters the room you know he is in control. The way the younger, muscled up Nazis say virtually nothing in retort to his commands and hang on his every word exhibits his power among the collective. It was a nice and welcome touch to the proceedings.

I can't say enough good things about the film, for it is taut and tightly wound in a way that keeps you invested in the film. Even when the third act goes a little off the rails, it is not to the detriment of the feature. Give it a shot, it is terrifying but way better than most of the horror films out there.