It's not because Quentin Tarantino proclaims that Roth is the future of the horror genre, simply based on having seen "Cabin Fever" that the rest of us genre fanatics obediently have to agree. The films of Eli Roth are an acquired taste, or at least for me personally they were. They’re excited to be retweeted by CNN, for example, and relieved when the tribe eats the fattest of them first, reasoning he’ll keep them full for days.Reviewed by Coventry 7 / 10 Roth does cannibalism Italian style! And as with Cannibal Holocaust, the real target is the entitled foreign do-gooders, whose intervention, the film suggests, is really a modern form of imperialism, fuelled by a similar sense of moral superiority and vanity, rather than genuine altruism. Indigenous peoples’ groups have, indeed, objected – especially as there are no actual cannibal tribes in South America. The decision to depict these brown-skinned indigenous people as not just avid flesh-eaters but leering, body-painted, nose-pierced, scary primitives is highly questionable, if not objectionable.
But a plane crash (spectacularly staged) lands them among the native tribes they’re out to protect – who don’t exactly welcome them with open arms. On the tasting menu are a band of privileged student activists, who travel from New York to Peru for a direct-action mission against rainforest destruction. If that’s a spoiler alert, it’s better you know now what you’re walking into, or more likely out of. H aving deterred Americans from exploring either their own country or Europe, via Cabin Fever and the Hostel films, Eli Roth continues his war against tourism in South America, with a gore-stuffed horror owing much to Ruggero Deodato’s infamous Cannibal Holocaust, for better or worse.
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