Inferno Review ^new^ — The Green

The cinematography, too, captures the oppressive humidity and alien beauty of the jungle. Roth knows how to frame a landscape to make it feel like a cage. The fatal flaw of The Green Inferno is its staggering lack of self-awareness. Roth attempts to critique activist naivete, but his script is just as naive. The indigenous tribe is portrayed as a monolithic, screeching, one-dimensional threat—exactly the kind of "noble savage turned savage brute" trope that the genre should have retired forty years ago.

Unlike Ruggero Deodato’s Cannibal Holocaust —which was undeniably racist and exploitative but at least contained a meta-critique of media sensationalism—Roth offers nothing. He gives the tribe no language, no personality, no motive beyond ritualistic hunger. They are simply obstacles with machetes. For a film ostensibly about Western arrogance, it is ironically the most arrogant kind of filmmaking: using a real culture as a wallpaper of terror without a shred of anthropological curiosity. the green inferno review

The Green Inferno burns bright on the surface, but underneath, there’s nothing but ash. Roth attempts to critique activist naivete, but his

★☆☆☆☆ (1/4)