The band played by Alia Shawkat, Joe Cole, Callum Turner, and Anton Yelchin feels authentic. Grimy, musically proficient, morally suspect and somewhat pretentious they are relatable and familiar. When the violence starts to happen they respond, believably, not with competence but with panic. Yelchin struggles the most, seemingly a bit out of his element or at least unable to lock in as fully as some of the other bandmates. Decent but noticeably not as comfortable. Patrick Stewart, cast against type, as the quiet and menacing neo-nazi leader is incredible. Potent and thrilling, you just want more of him. Imogen Poots as Amber who gets lumped in with the band through happenstance has a magnetic tenacity and fierceness that infers a lot of dimension. Macon Blair(director Jeremy Saulnier's best friend and star of his previous film) has a supporting role as Gabe an underling but exudes confidence, complexity, and emotion. All in all a formidable ensemble that creates an evocative, singular, and gory world.
The production design is pointed and distinct, furthering the feeling of a unique style within a typically exhausted genre. The score, costumes, props, cinematography all work in harmony to bring this rural skinhead haven, along with its corresponding danger, to life.
If there is a fault with the film it is only by comparison to Saulnier's 2014 critically lauded Blue Ruin. Green Room has a large ensemble and as such individual development is sacrificed for cultivating mood and furthering story. Its plot is also not as single minded as its predecessor with motivations complicated rather than streamlined. But these criticisms can only be leveled when putting the films in conjunction with each other. On its own Green Room stands tall.
An edge-of-your-seat thrill ride with artistry.
See It.
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