"Rants & Ravings About Horror" - Week 24: “The Horror of Eli Roth”

Week 24: “The Horror of Eli Roth”

On the eve of such great news that The Green Inferno (2014) is finally getting a theatrical release after being shelved at the last minute last year and the excellent news that he is in pre-production on the long stuck in development hell adaptation of the hugely success novel Meg (novel by Steve Alten), what better time is there than now to take a look at the films of writer/director Eli Roth?

Although he started as an actor (uncredited) in various films like The Mirror Has Two Faces (1996) and The Lost World: Jurassic Park (1997), it was his debut feature Cabin Fever (2002) which really put him on the map.  He also wrote and acted in the film about four friends who encounter a stranger suffering from a flesh eating virus which not only threatens their own lives but their friendships as well.  The low budget horror film was filled with plenty of gore and sex and ushered in the so-called “torture porn” genre (despite there being more extreme films before it).  It was a huge success especially considering the low budget of the film.

Before going back behind the camera Roth decided to continue on the sidelines as an actor in Tales from the Crapper (2004) and 2001 Maniacs (2005).  Despite elevating to director he also managed to star in Terror Firmer (1999) and Citizen Toxie: The Toxic Avenger IV (2000), so, you should see, Roth’s passion would remain in front of the camera as well as behind it.  His next film was Hostel (2005) which shocked the industry with its uncompromising violence and its commentary on the world of underground killing for money.  Like his previous film this is a gritty look at two American tourists and their friend who run afoul of a murder syndicate.  This film was unlike anything American audiences had ever seen and it was extremely successful with more mainstream audiences.

Roth quickly followed up the success of Hostel and the good will and popularity of his faux trailer “Thanksgiving” (part of the film Grindhouse) with Hostel: Part II (2007).  This was a much more refined film in terms of screenplay, style, art direction, and execution.  This was the film that would show audiences that Roth was becoming a better director with style and something to say.  Unfortunately, the torture porn cycle of films was quickly dying down and this was a less successful film than its predecessor.

Following Hostel: Part II’s poor performance at the Box Office Roth would turn his talents to producing, writing and acting.  Over the next several years he produced The Last Exorcism (2010), Aftershock (2012) – which he also acted in, The Man with the Iron Fist (2012) – which he also wrote, The Last Exorcism Part II (2013), The Sacrament (2013) and most recently Clown (2014) – which he also acted in.  As an actor he was also in Death Proof (part of the film Grindhouse), Inglourious Basterds (2009), Piranha 3D (2010), and Rock of Ages (2012).  As a writer he also wrote The Green Inferno in addition to The Man with the Iron Fists.  

The Green Inferno would be Roth’s next feature film behind the camera more than five years after the release of his last film.  This would be a return to form for the director who was now tackling the cannibal genre of horror.  Unfortunately, for Roth and audiences the film would be shelved before seeing release in 2014.  This did not deter the visionary director who forged ahead with his next film Knock Knock (2015) which is also scheduled to be released this year.  This film stars Keanu Reeves and is a big departure for Roth whose films usually have character actors or no stars at all.  The film is getting great reviews from early screenings and should propel him to more mainstream films, which is where his latest project Meg comes into play.  Based on the bestselling novel Steve Alten it is believed that Roth will finally get this film out of development hell which is where it has been since the rights were purchased the year the novel was originally published.

Roth’s career is something he redefines at any given moment.  In addition to acting, writing, and producing films he executive produces several television series and he’s also created a horror attraction in Las Vegas, among many other ventures.  The one common element between all of Roth’s many ventures is that he loves horror and as an audience member we can be assured that he will never be predictable and always be innovative.

Film Review: THE TORTURED (2010)

The idea of a good torture porn flick went out the window when they decided to make six sequels to the infamously profitable Saw franchise (and to some extent the Hostel franchise as well) but film makers and studios continue to churn out derivative horror film to derivative horror film with complete disregard or lack of understanding of what it takes to actually make a decent much less good torture porn film.  I am sad to say that despite the heavy presence of decent star names above the title The Tortured (2010) is yet another easily forgettable film. 

The Tortured stars Erika Christensen and Jesse Metcalfe as loving couple Elise and Craig Landry whose son is kidnapped and then killed by psychopath John Kozlowski (played by the always entertaining Bill Mosely).  Kozlowski is subsequently captured and tried for the murder of which he is sentenced to prison where he may have the chance at parole one day.  Elise & Craig are torn asunder by this injustice and decide to take matters in their own hand.  When Kozlowski is being transferred to prison they hijack his transport.  Elise and Craig want to deliver as much pain and suffering to Kozlowski as he put their son prolonging his death until they are ready to let him die.

Now the set up for this film is actually not that bad because it depicts every parent’s greatest fear which is the loss of a child.  They seek justice for that loss but when politics get in the way they decide to deliver their own justice.  This is played very serious by Christensen and Metcalfe who do their best with the mediocre script, but when Mosely appears everything becomes very tongue in cheek.  For most of Mosely’s other films this would be fine but not for this film which takes itself seriously.  Then when the Landry’s start torturing Kozlowski the unintentional comedy jumps into high gear and the seriously established from the beginning is completely lost. 

There are a few things to offer which is that the performances, for the most part, are solid and Robert Lieberman’s direction is well paced and suitable but the biggest part is with the script which starts off real well but falls apart part way through because of the horror film aesthetics associated with the torture porn genre.  There are a lot of good points to be made through the film but its trapped in its own mode of torture from it cannot escape from.

Film Review: HOSTEL: PART III (2011)

Films labeled as torture porn have been on the decline since the release of Hostel Part II (2007) and the Saw 3D (2010) so it comes as a surprise that this sequel Hostel: Part III (2011) ever saw the light of day but this film is not directed by Eli Roth (who did the first two films) and this film takes place here in the U.S.A. but more importantly in Las Vegas, the City of Sin. 

Four friends head off to Las Vegas for a bachelor party to end all bachelor parties and find themselves on the receiving end of the filthy rich who pay to kill people in creative ways.  Now they must find a way to survive or risk becoming another victim in the City of Sin.

Using the Hunters Club as seen in the first two films, this film is somewhat grounded in the world created in the previous films but this world seems like a step back from the previous films.  In Hostel Part II the captured victims have been cut off by any escape routes leaving nowhere to run (an improvement based on events in the first film) whereas in this film it’s far too easy for them to escape; you’d think that if one faction of the Hunter’s Club upgraded their security system then they all would (especially in America where you think that it would be even more elaborate and modern).  

The film is not nearly as inventive with the death sequences as the previous films nor as inspiring as one person is killed by bugs while another by arrows by a woman dressed up in a mask.  If there is one thing that audiences come to these films for it’s to see people/victims get killed in new and creative ways (which is one of the reasons why the Saw franchise lasted as long as it did).  Unlike the previous films most of the gore and shock is off screen which is fine for the casual viewer but for fans of the previous films this is a disservice.  It renders the film utterly flaccid and ineffective.  

Relocating the film to Las Vegas was also a mistake as it has become the lynchpin destination for just about every film that wants to deal with the wages of sin and the theme of adultery and revenge not to mention other deadly sins.    By this third film I wanted something a little more substantial but then again this is a straight to video release so you can’t expect any more than the most mundane of execution.