![]() To me, it just felt to me like a bunch of stuff i'd seen from some of the classic horror movies mashed in with one interesting premise. I think its designed brilliantly and has an environmental message, and I admire Roth's aspirations to not skimp on gore or sex, but it was unnecessary to the plot. But in the end it's interesting twist to the typical cabin in the woods story doesn't fully make it work. There was also very few shocks, and once I adjusted to the carnage, consequently, it wasn't that scary. However he shows almost no creativity in Cabin Fever and for me he never demonstrated the extent of his talent. All this adds up to the construction of a cheesy 80's horror movie, which was exactly what Roth was trying to mimic. Especially considering the tiny budget it was made on. Firstly, the acting is much better than I expected it would be, and the gore is disgusting and boasts some pretty impressive bloody corpse special effects. But that's just damning it with very faint praise. The Lord of the Rings: The Rings of Power: Season 1ĭefinitely Eli Roth's most inspired, and most substantial film.The Lord of the Rings: The Rings of Power: Season 1 The BMF Documentary: Blowing Money Fast: Season 1 The Bastard Son & The Devil Himself: Season 1 The Mysterious Benedict Society: Season 2 Roth’s college students emitted a memorably sleazy sense of self-regard and sexual hunger, while their contemporary brethren suggest blandly scrubbed and outfitted action figures who’ve been popped out of a 1980s-era horror-movie playset.Guillermo del Toro's Cabinet of Curiosities: Season 1 By contrast, the villains of Zariwny’s remake are figuratively toothless cartoon bumpkins, obviously played by slumming, costumed actors, who’re less convincing and scary than even the deliberately comedic hillbillies of The Cabin in the Woods. The rednecks in the original Cabin Fever, with their references to an n-word person who a gun was meant for, felt as if they had actually climbed out of the recesses of America’s id. Roth owned the unpleasantness of this clichéd opposition, embracing an exploitation film’s potential for reveling in guttural class warfare, while Zariwny detachedly regards the material as shtick to be waded through with quotation marks. In both productions, the narrative pivots on the resentment brewing between the locals of a rural woodland community and a group of privileged, callow college students inevitably in town to party, as physicalized by a flesh-eating disease. If nothing else, a contrast between the new and old versions of the film can offer an illustration of how differing filmmakers and contexts can fluidly inform and affect identical material. Zariwny predictably scrubs all the edges and eccentricities down, however, fashioning another impersonally polished cash grab. Savage gore, broad, occasionally tone-deaf comedy, and sporadic bursts of surprisingly intense beauty all comingled with confident unease. ![]() For all its derivations, most notably from The Last House on the Left and The Evil Dead, Roth’s Cabin Fever has a rude, feral energy. Travis Zariwny’s Cabin Fever is a scene-for-scene remake of Eli Roth’s 2002 horror film of the same name, using the same script by Roth and Randy Pearlstein, yet there’s a subtle flatness to the new version that dishonorably distinguishes it from its predecessor.
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