Review: Green Room


In his follow-up to Blue Ruin, which had the actress who played Jan Brady shooting an Uzi, director Jeremy Saulnier has another blook-soaked film, this time called Green Room. It is a fairly novel idea for a crime film–a punk band, at a gig in a skinhead bar in deep in the woods of Oregon, witnesses a murder, and then attempt to escape the clutches of a white supremacist organization.

I do have to say this before I go any farther–this film is violent, very violent. The body count is extremely high, higher than I can remember to count, and people are done away with by being disemboweled, having their throats ripped out by dogs, and old-fashioned shootings. From about halfway on it is an orgy of blood, and I was surprised that a little old lady with a walker that came in after I did actually stayed through the whole thing.

The first part of the film is a nice look at how hard it is to be a band. The Ain’t Rights, a foursome, have just had a gig that got them $6.87 each, and they are experts at siphoning gas. The apologetic promoter sends them to their next gig, telling them not to talk politics. They arrive to find their name misspelled on the marquee and a lot of burly men with neck tattoos. Mischievously they open with The Dead Kennedy’s “Nazi Punks Fuck Off,” but all seems to be well as they leave with $350. Except one of the members left her phone in the green room. When another one goes back to get it, he finds a woman with a knife in her head.

All is cool for a while. There is a lot of negotiation, and the owner of the place and the leader of the “movement” (Patrick Stewart, totally playing against type) reasons with the band. They are led to believe they will be allowed to leave, but you can’t trust neo-Nazis, and the battle is on. Just about everybody dies, except for three people, I think.

Saulnier clearly loves a nice film full of mayhem and backwoods ignoramuses, as judging by these two films. Green Room is a little sloppy in places, and there was a subplot involving one of the skinheads planning to leave with evidence that I didn’t quite follow–maybe its because there’s some mumbling going on, and I can’t hear that well. The ending also drags out a little long. But there’s also some dry wit going on, such as a shot of a man with a mohawk vacuuming his carpet.

If carnage and loud punk rock don’t bother you, this is a fine film. I wonder how that little old lady liked it.


About Jackrabbit Slim

Location: Vegas, Baby! I’m much older than the other whippersnappers here, a baby boomer. I tend to be more snobbish about film, disdaining a lot of the multiplex fare for “cinema.” My favorite films: Woody Allen’s oeuvre (up until about 1990), The Godfather, The Graduate, A Hard Day’s Night, Pulp Fiction. Politics: Well, George McGovern was my political hero. I’m also a prickly atheist. Occupation: Poised to be an English teacher in Las Vegas. For many years I was an editor at Penthouse Magazine. My role on this blog seems to be writing lots of reviews and being the resident Oscar maven.

2 responses »

  1. I thought it was pretty decently made, but to what end?

    On the plus side it takes its time building up to the mayhem quite effectively; when the group is trapped in that room not knowing what was outside for them was in its own way more tense than when then the violence and mayhem occurs later.

    Even when the violence does occur I didn’t think it was gratuitious. But while the film was well made, it didn’t add up to terribly much and was rather pointless.

  2. Hard to believe that a month after seeing this that the main actor in this film – Anton Yelchin – has died in such unfortunate circumstances at just 27 years of age.

    It just takes me back to the film and the fate of his character and (in the context of the film) how tragically ironic it feels now.

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