The Green Inferno


Adventure / Horror

The Green Inferno (2013) download yts


Added By: Kaiac
Downloaded 108,208 times
June 10, 2016 at 9:14 PM



Lorenza Izzo as Justine
Daryl Sabara as Lars
Magda Apanowicz as Samantha
720p 1080p
747.89 MB
23.976 fps
1hr 40 min
P/S Unknown
1.54 GB
23.976 fps
1hr 40 min
P/S Unknown

Movie Reviews

Reviewed by Sterling Baade 1 / 10


One of the worst movies I have ever seen. Acting, writing and directing were just horrid. I actually watched this today, came home, signed up for IMDb just to say how awful this movie was. Stupid diarrhea scene for no reason. They just witnessed their friend hacked to pieces and eaten, then a girl explodes her bowels in the corner of their cage. What is their reaction? Total disgust and act like they cant get far enough away from her, really? They acted as if it was the worst thing that had happened on their trip. Then the random masturbation scene? Served no purpose. After everything that was done to the lead actress; beating, raped, almost had her genitals mutilated and she doesn't tell anyone out in the world that these monsters are running around the woods? SO DUMB I CANT FATHOM IT!!! While watching this movie I felt as though I would rather be on the cannibals table then in the movie seat. Don't waste your time or money on this mindless drivel.

Reviewed by Andrew Gold 5 / 10

Gore-hounds will be satisfied, people expecting a good horror movie won't be.

The Green Inferno is a standard Eli Roth fare - gore galore, cannibalism, and occasional humor - set in the Amazon rainforest. The acting is terrible right off the bat, but thankfully it isn't an issue halfway through the movie when the body count starts up. The characters themselves are paper thin, only about 3 of which are given actual personalities while the others are just fodder for the natives.

The premise of the movie is disturbing and will sound appealing to most horror fans, including myself, but the execution leaves a lot to be desired. Yes, the gore is done very well; as usual Roth uses great practical effects to create some wince-inducing scenes. The problem is that the first half of the movie feels like a student film. Really bad acting, horrific dialogue, and the documentary style filming doesn't help at all. It's not so much an issue once the characters are captured, but you aren't able to get immersed into the world from the get-go so you're never truly frightened or concerned for them when the bloodshed begins.

The biggest issue is that The Green Inferno isn't scary in the slightest. Apart from a cheap jump scare near the end, there's little to no suspense or tension in the movie. It's just a linear storyline with characters getting killed off one by one with very little left to the imagination. It also isn't funny. There's maybe two times I chuckled at the tongue-in-cheek jokes. Most of them come across as forced, partly due to the acting and partly due to the jokes not being very funny. Roth tries for a darker, more disturbing atmosphere and he succeeds, but he sacrificed the potential fun to be had with the film. It's not terrible - Eli Roth fans will get exactly what they're expecting - but it also isn't anything new. The Green Inferno is a decent effort but a wholly mediocre movie watching experience.

Reviewed by Coolestmovies 7 / 10

Gore galore, but a slavish re-tread of the Deodato/Lenzi films. Not that that's entirely bad thing . . .

NOTE: slight spoiler in the second last paragraph, duly noted below.

I've always found Eli Roth's films to be mixed bags. GREEN INFERNO is by far his best picture, but as in most of his other films his limitations as a dialogue writer are foregrounded too often, albeit thankfully to nowhere near the extent they were in the RZA's execrable vanity project MAN WITH THE IRON FISTS. His character development skills, however, show unexpected signs of refinement during his six year absence from the director's seat.

In particular, Roth's take on environmental activists -- all of the main characters in Green Inferno are self-serious, latte-drinking "save the rain forest" university types who infiltrate a clear-cutting operation deep in the Amazon jungle and chain themselves to the logging machinery in order to protest "corporate greed" via satellite linkup with their iPhones -- cuts effectively deep for a filmmaker not usually given to social criticism.

Most criticism that could be leveled at the film's dialogue and subtext, however, is irrelevant since the drawing card for horror buffs will without question be the exotic, "dangerous" location (which promises enough stories for multiple gory sequels, according to Roth), and the copious scenes of torture, dismemberment and cannibalism that ensue when the protagonists' plane -- possibly due to sabotage, it's later implied -- crashes into the forest on the return trip home (the opening protest mission is entirely self-contained, and actually successful, or so it seems at first). Enter the natives -- reportedly played by an authentic Chilean tribe, albeit one not prone to dining on human flesh -- and the feasting begins.

The grisly makeup effects are by a team led by legends Gregory Nicotero and Howard Berger (who aren't credited at IMDb as of this writing, but ARE listed in the opening credits of the film), and they certainly deliver, particularly the squishy, screaming dismemberment that sets the ball rolling. As far as cannibal movies go, the special effects in GREEN INFERNO are certainly the most elaborate to date, but considering the most notable (and notorious) run of this genre happened thirty years ago, that probably goes without saying.

Manuel Riveiro's full orchestral lends the film an appropriately ominous sense of portent -- especially when it accompanies sweeping flyover shots of dense jungle -- and a feeling of scope and import that belies the fact that GREEN INFERNO is ultimately a throwback/valentine to the works of Ruggerio Deodato and Umberto Lenzi, almost to the letter, in particular Lenzi's CANNIBAL FEROX (aka MAKE THEM DIE SLOWLY). Speaking of those two, Roth's film is actually dedicated to Deodato, and the credits list most if not all of the films in this sub-genre that one should probably see or at least be aware of going in or coming out. At TIFF, Roth claimed this list (along with numerous tweet handles in the final roll) was simply a great way to insert some marketing magic directly into the film itself, but one could also read it as a preemptive strike against critics (and fans) who might realize just how shamelessly he treads familiar ground with this show and attempt to dock points for it. Mind you, if enough future audience members haven't seen any of the late 70's or early 80's Italian cannibal pictures -- and let's face it, a whole new generation or two probably doesn't even know they exist -- that might bode well for this picture, especially via DVD/streaming, as there's nothing like experiencing a dedicated cannibal movie for the first time, and with a strong stomach. It's also now very likely that some of GREEN INFERNO's predecessors will get fancy new Blu-ray re-releases thanks to the existence of this film. So there's that.

As for gratuitous skin -- always a component of the originals -- Roth treats us to more of Daryl Sabara's junk than most viewers probably ever thought they'd care to see, for what that's worth, while for the likely-to-be-predominantly-male demographic of this type of picture, Loranna Izzo spends a fair portion of the final act bounding through the rain forest in a skimpy little muslin jungle bikini (and -- SPOILER AHEAD!! -- appears oh-so-briefly topless during her FGM "preparation" scene), while she and a couple of the other actresses have fleeting moments sans pants getting "examined" by the tribe's cataracted, jaundice-skinned resident witch doctor and gynecologist. Such as it is, the skin quotient -- when it's not being ripped and chopped apart, and cooked and eaten, at least -- is more or less on par with the original films. Thankfully Roth and company avoid scenes of animal cruelty (even faked) altogether, so those who uncomfortably recall such unpleasantness from the Deodato/Lenzi films can rest easy; it's only the humans who get eaten this time out.

Finally, a dangling subplot involving one character will undoubtedly serve as the foundation of the just-announced sequel, which reportedly begins production almost immediately. To be honest, I'd almost forgotten about this character until the drive home, which was probably the point all along.

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