Our first Friday Night Freakout of 2018 is one of the most white-knuckle intense and thoroughly entertaining thrillers of the decade – writer/director Jeremy Saulnier’s critically-acclaimed 2015 shocker Green Room!
At the end of a long and unsuccessful tour, struggling young punk rockers The Ain’t Rights and about to call it quits when they get an unexpected booking at an isolated, run-down club deep in the backwoods of Oregon. After their performance, they witness an act of violence backstage that they weren’t meant to see, putting the culprits in an interesting bind. The kids are held at the club until the club’s owner can arrive and suggest a solution – unlucky for The Ain’t Rights, the club is owned by the ruthless neo-Nazi Darcy Banker (Patrick Stewart), a dangerous man who will do anything to protect the secrets of his nefarious enterprise.
An intense, emotional, and ingeniously twisted cat-and-mouse thriller, Green Room is genre filmmaking at its best and most original, elevated by a terrifying performance by Stewart as the droll and remorseless Banker. Featuring the late great actor Anton Yelchin in one of his final performances as band leader Pat, Green Room offers a kaleidoscope of violence and surprises in a portrait of would-be victims who refuse to go down without a fight.
Volunteer of the Month pick!
Every month The Frida Cinema announces a Volunteer of the Month, and invites them to pick a title to present the following month. We are excited to present Green Room as selected by December’s Volunteer of the Month, Sammy Trujillo!
Thanks for all your help, Sammy – and great pick!
“It doesn’t take a big budget and loads of special effects to create a genuinely scary movie. It just takes – as writer/director Jeremy Saulnier ably demonstrates in Green Room – an intriguing premise, a taut, sinewy script and a solid cast.” – Bruce Demara, Toronto Star
“Jeremy Saulnier’s Green Room is an impeccably crafted cinematic torture machine – in the best possible way.” – Bilge Ebiri Village Voice
“Green Room is way more than crass exploitation. It’s a B movie with an art-house core.” – Peter Travers, Rolling Stone