Green Room.

Review #2460: Green Roon.

Cast: 

Anton Yelchin (Pat), Imogen Poots (Amber), Alia Shawkat (Sam), Joe Cole (Reece), Callum Turner (Tiger), Patrick Stewart (Darcy Banker), Mark Webber (Daniel), Eric Edelstein (Big Justin), Macon Blair (Gabe), Kai Lennox (Clark), David W. Thompson (Tad), Brent Werzner (Werm), and Taylor Tunes (Emily) Written and Directed by Jeremy Saulnier.

Review: 

"In Green Room, the gasps are real. People are sort of white-knuckled watching this movie. That’s what I love. The involuntary response their bodies create. It’s pretty hard to do, to make people actually terrified. It’s about making the characters relatable. It’s about breaking a few rules, not just to break them, but to keep things off-balance. Let people know that they’re not going where they’re supposed to go. You go where the characters take you, which is terrifying because these people have no fucking idea what they’re doing. As for the violence, because there’s so much brutality in Green Room, and there’s some full-frontal gore, it can be perceived as sensational. But the way I treat it, if you look and scrutinize every moment, it’s very reverent."

Sure, let's go with a vicious little thriller to feature for once. This was the third film of Jeremy Saulnier, who started making films in his early twenties. The Virginia native became a feature filmmaker with the horror-comedy Murder Party (2007), which he wrote and shot himself. His next film was the Kickstarter-funded Blue Ruin (2013), which he also wrote and shot with the idea that it could've easily been his last movie with the time required to raise his family. The impetus for making this film was his desire to make a movie with a green room, with his experiences at concert venues as a person who used to be in a punk band shaping a short film that he made in 2007 staying in his mind for when he could make a film the way he wanted. You may or may not be surprised that punk had a bit of the skinheads in there, particularly ones that liked to wear uniforms (and conversely there also existed Skinheads Against Racial Prejudice). What Saulnier had the most fun was in realizing what he wanted to do for years and yet not have a clue just where he wanted to take it before figuring out where both sides of the door would go in their choices without playing into too many genre tropes; he specifically stated that there was nothing sadistic in the film but instead "brutal difference and self-preservation" and one choice act of unmotivated violence that leads to the clash. Premiering at the Cannes Film Festival in 2015 but not getting a release in theaters until spring 2016 (first limited before wide), the movie was not a big success at the time, but Saulnier has continued to make films with Hold the Dark (2018) and Rebel Ridge (2024).

Sure, you could call it a punk rendition of Assault on Precinct 13 (1976). But it has its own type of relentless dread and brutality that make for a resounding success in unsettling the viewer with how fast things can go down in the pit of bleakness and keep going. The horror is the fact that everything that could go wrong for these folks in the film can in fact can be much worse to actually see play out. The parts you see within the land of skinheads and their type of organization (right down to the dog-training) are probably most unsettling because it seems so natural in a way that it hits all the marks required to strike bone. Yelchin (who tragically passed away in 2016) manages to sell the quick-rising fear that comes in going from having one's trouble evolve from where to maybe siphon gas to most definitely seeing someone with a knife in their head. Granted the group of rockers do have a bit of time to show the toil of punk rocking in a world that doesn't really seem to hear the notes for a few chuckles (note that they play at a Mexican restaurant early on). Poots and her weary expression to pair with Yelchin for a good chunk of the film makes for a fascinating one to see, one with a cracked sense of self that seems authentic in the all of the strange sad ways possible. Technically speaking, Stewart is not in the film too much, coming in and out of the darkening situation (figuratively and literally, if you consider one of the last lines of the film) but he makes the most of it with a unsettling sense of calm that reminds you that there are people like him somewhere in the world that are content with who and what they believe in without needing to turn to unnecessary bombast. Others who make an impression include Blair and his shaky presence at the powder keg of ugliness or the small moments that show the strange place that we are having to look upon (at one point you've got a guy willingly getting into a stabbing incident to help distract a cop). The movie earns its stripes of making you care about the violence and how it could easily happen to any of us who find ourselves in a bad spot and can't rely on people adhering to cliches and tricks, with the climax allowing for only the slightest of relief of the stark nature we just saw for 95 minutes. As a whole, Green Room manages to show the terror of places you couldn't imagine exist and shows that one can have their stomach churn in its simple brutality and solid execution.

Overall, I give it 8 out of 10 stars.