Editorials
Some Idiot Is Petitioning For ‘The Green Inferno’ To Be Boycotted
A few days ago, director Eli Roth spoke about his upcoming cannibal horror film The Green Inferno in an interview, explaining that the characters we’d be seeing on screen were caricatures of SJW’s (“Social Justice Warriors”), those people online who find offense at every single little thing and seemingly don’t find anything in life to enjoy. While cannibal films never really interested me, Roth’s comments shot The Green Inferno to the top of my “must-see” list because those people irritate the hell out of me.
As if on cue, and in a shockingly ironic move, a petition has been created by these SJW’s to have the film boycotted if not outright cancelled.
Here’s the full complaint, direct from the petition page:
Films like this have always portrayed negative stereotypes against indigenous people as brute savages. These films have psychological effect as indigenous people have been through colonial trauma assimilating to white culture being taught self hate. “Westerners are unfortunately ignorant about Amazonian indigenous cultures and depicting them in such a violent story dehumanizes their peoples and couldn’t be farther from reality. Shame on you. As a storyteller you hold a great responsibility to influence others. Propagating such hate towards peoples who have been ravaged and raped for decades by white supremacist culture is not constructive in our fight to save the Amazon. Most indigenous communities are more in tune with nature than you’ll ever be, and would never conceive of such violence for profit. It’s a shame, we should be creating stories than accurately depict indigenous way of life which is holistic, sustainable, spiritual and harmonious with our earth and brothers and sisters. If you want to save the Amazon and stop China from buying leases to drill oil, make a story depicting the corporate shills for the murderers that they really are. You don’t have to create racist, offensive, inaccurate crap to get people to care about the most biodiverse place on the earth. And if you really want to make a difference, give your money to organizations like ours who are the people on the ground standing up for indigenous rights and making tangible change. Indigenous peoples are the key to preserving the Amazon. If we don’t respect and empower them, we will lose the lungs of our planet. They should be honored and respected.” – Amazon Watch
In an update to the petition, it was written, “…Eli Roth has decided to glorify the White Savior Industrial Complex that has plagued indigenous people since the early colonialist days of “kill the Indian, save the man”, while the indigenous people are, of course, cannibalistic savages.”
Ah yes, it’s all about Westerners destroying the native indigenous tribes and nothing at all to do with the governments of the countries where these people reside, right?
The update even explains that the Peruvian government is taking actions that are potentially catastrophic to indigenous tribes:
In January of this year (2014), the Peruvian government greenlighted the Camisea gas project’s expansion to the lands of “uncontacted” Amazon tribes, despite the UN’s recommendation that they first provide an extensive study of the threats the expansion would pose to the aboriginal people. This expansion gives Pluspetrol (Argentina), Hunt Oil (US) and Repsol (Spain) permission to detonate thousands of explosive charges, drill exploratory wells and move hundreds of workers into the Nahua-Nanti Reserve for isolated and uncontacted tribes. This move by the Peruvian government will expose the indigenous people to diseases that they lack the immunity to fight off, it will destroy their homelands and their entire way of life.
But then it continues stating that the biggest problem here is Roth’s movie, not the actions of these governments. Because, as we all know, a movie depicting a savage cannibalistic tribe is far more damaging than these real life tribes actually being displaced and their native lands ravaged.
You know what? At least in Roth’s film these people actually go to the Amazon to try and help protect these tribes. That’s not White Savior Industrial Complex, that’s a group of people getting off their asses and not hiding behind their computer monitors, leaving hateful comments on anything and everything, and actually doing something. These characters in the film are trying to make a change by acting on their indignation. But what bites them in the ass is that they acted too quickly, not taking the time to actually fully learn about what they’re trying to save. Their rush to judge is their undoing. Sound kinda familiar? Thanks petition creator for proving Eli Roth right.
The Green Inferno hits theaters on September 25th.
College kids, strippers and vampires—those were Donald P. Borchers’ only requirements when he approached Richard Wenk about writing and directing a movie for New World Pictures. As requested, Wenk cooked up Vamp (1986), a tailor-made blend of the decade’s teen movie craze as well as its horror boom.
Grim and earnest stories were still very much a part of the ’80s horror landscape, yet Vamp is something of a comedy. One difference between it and, say, Saturday the 14th, though, is the former avoids using schtick. Wenk’s movie proves that horror comedies also don’t have to subtract thrills from their recipes. Of course, it takes a minute before reaching that point; college antics and culture shocks preface this one macabre misadventure.
Vamp‘s initial setup is apt for a typical college-set, sex-driven comedy; to bribe their way into a fraternity house, two pledges (Chris Makepeace, Robert Rusler) go looking for some adult entertainment. Without wasting time on any further exposition, the characters embark on an all-in-one-night trip that quickly detours into terror.
To procure their elusive MacGuffin—a stripper willing to gyrate for some frat boys—Keith (Makepeace) and AJ (Rusler), plus a third wheel named Duncan (Gedee Watanabe), trade the safety of their remote college campus for the seediness of some unnamed city. The setting is recognizably L.A. by day, but as soon as night falls, downtown, along with the characters, slips into a kind of surreal universe. Director of photography Elliot Davis gave this early entry on his prolific résumé an unusual yet distinctive look; that Mario Bava-esque, magenta-green lighting is omnipresent, so much so that it’s almost its own character.
Chris Makepeace and Robert Rusler in Vamp
The faint comparisons to Martin Scorsese’s After Hours are merited, although not just because of Vamp’s distinguishing nighttime aesthetic. Save for the primary characters, the supporting roles in Wenk’s movie are also quite colorful and transactional in their behavior. The difference here, though, is the additional urge to ruin Keith and his friends at every turn. Some of that harm is humorous and tolerable enough, whereas the moment Vamp dishes out its first fatality, it’s abundantly clear how this movie qualifies as horror.
Vamp falls into that category of horror movie that reveals its genre with a scream rather than a series of whispers. The opening scene can function as a hint of what lies ahead—things are not at all what they appear to be—but otherwise, Wenk is more than happy to hold off on the horror. When that time does come, though, it catches the viewer off guard. In addition to the pure shock value is that sudden decision to upend the movie’s foremost feature. Or so it would seem.
If afraid of major spoilage, those new to Vamp would be wise to stop reading here. There’s just no skirting around the fact that the central fellowship in this buddy movie hits a serious snag when AJ is killed. That development causes the story to become more of a “long, bad night” journey for Keith and his romantic interest. So while Wenk scores points for subverting expectations, there is also a touch of sadness in his decision. Because if Vamp does anything well, it’s making the characters likable.
Something that comes easily to Vamp—and other teen horror movies from this same era—is its ability to invent young characters worth caring about, or at the very least, are interesting and not so immediately off-putting. More impressive is how Wenk did all this without actually fleshing out those characters. Still and all, Keith and his kind are a grade above cookie-cutter, and in some cases, aren’t completely devoid of growth.
Grace Jones in Vamp
Vamp appeals with an assorted cast of characters. No two are the same, nor are they operating on the same wavelength. The cinematically extroverted AJ, whose actor conveyed charm and vulnerability in near equal amounts, comes alive when he’s at his most undead. Makepeace then makes the chronically cautious Keith a sympathetic fellow, even as he’s more and more affected by the night’s bizarre events. Meanwhile, Duncan is indeed the designated loser of the whole bunch, but Watanabe still manages to humanize him. As a bonus, the role didn’t require him to pull a Long Duk Dong.
As for Dedee Pfeiffer, she is plain adorable as the mysterious After Dark server nicknamed “Amaretto”. She spends all night fixing her dress strap while at the same time trying to get Keith to remember how he knows her. As their offbeat romance grows, it becomes another highlight of this movie. Whether or not Pfeiffer’s character is really a vampire also creates some welcome tension in the story.
Like a lot of its contemporaries, Vamp went on to become a bit of a cult classic. That current status is determined by several factors, but without a doubt, the casting of Grace Jones is the most considerable. The image of her writhing on that unique-looking chair, a Keith Haring original, springs to mind whenever this movie is brought up.
Chris Makepeace, Billy Drago and Paunita Nichols in Vamp
Prior to that first display of unequivocal horror, local vampire queen Katrina (Jones) took to the stage and delivered a strip show like no other. One would expect nothing less from that renowned model and performance artist. By now reports of Jones’ tardiness on set are no secret, yet it’s also hard to deny her commitment to the part of Katrina. It was, in fact, Jones who took charge of her character’s appearance—on top of Haring painting her body and that now-iconic chair, she had Andy Warhol handle her costuming. And not too many actors could seize a room’s attention without saying a single line of dialogue.
In 2022, Vamp received a retrospective novelization from Encyclopocalypse. This literary union of preexisting source material—Wenk’s original screenplay—and new ideas from author Christian Francis amounts to a more comprehensive visit to the After Dark Club. The basic story there is no different than what’s shown on screen; however, Francis gets creative with the characters’ origins and designs, and he enhances a number of key scenes.
The novelization expands on the urban and social decay of the main setting, and supplies a background for the After Dark Club. Sandy Baron’s character, Katrina’s emcee and familiar, is given ample motivation for sticking around; up until the fiery end, he is loyal to his friend and former business partner “Squeak”, who looks like he was “fed through a combine harvester, and left as nothing more than a heap of mangled remains”. Then there is Billy Drago’s character Snow, the leader of a street gang called The Dragons. His reason for menacing Keith and AJ is more altruistic than in the movie; he and his peers act tough to scare off any potential food for the vampires.
Lisa Lyon in Vamp
If not for all the backstories, Francis’ Vamp would be a hell of a lot shorter. Instead, this tie-in read dives into how AJ met Keith—the orphaned Anthony Joseph hailed from a broken home back in Brooklyn—and how their friendship flourished over the years. Keith’s archership is no longer just an assumed part of his entire being; it’s a confidence-building extracurricular for a boy who got picked on before coming into the protection of the new kid in town. These supplemental, in-depth looks at the protagonists, plus their close connection, are maybe unnecessary. The movie already did a fair and concise job of addressing their platonic intimacy without the need for flashbacks and insights, specifically in that scene where AJ lays it all out as he sacrifices himself.
Where the novelization gets off course is its approach to the minor characters. Intermittently backstorying the likes of Katrina’s indentured servants, Seko (Leila Hee Olsen) and Vlad (Brad Logan), ends up disturbing the flow of the writing. Was it absolutely essential that readers know Vlad was the Grand Duke of the House of Romanov, or how Snow’s accomplice Maven (Paunita Nichols) became so dentally challenged? No, not really. However, one’s mileage with these random biographies may vary.
The novelization is a more substantial experience, but for a movie like Vamp, less is more. And as plentiful as they are, it never simply coasts on its campy charms, either. The character work sits comfortably in that realm between cursory and meticulous, the script is sharper than first realized, and Greg Cannom’s vampire makeup is straightforward yet effective. Most of all, the movie didn’t squander its out-of-the-box concept. Richard Wenk made his vision of a “comic nightmare in which just about anything that can go wrong does” come true, and it is very enjoyable.
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