But otherwise it’s virtually the same product scene by scene, although the publicity notes do point out one crucial difference: “What’s surprising are the ingenious new deaths, which offer a fresh spin on a horror-comedy milestone.”Īlrighty, then.
Yes, the characters are different, although in both renditions they’re so forgettable that it hardly matters. Nadine Crocker, Matthew Daddario, Samuel Davis, Gage Golightly, Dustin Ingram, Randy Schulman, Louise Linton.This version is so similar to the original that it uses essentially the same screenplay by Eli Roth (who also executive produced this one, and he’ll have to answer for it somewhere down the line) and Randy Pearlstein. Camera (color, HD), Gavin Kelly editor, Kyle Tekiela music, Kevin Riepl music supervisor, Ryan Gaines production designer, Melanie Rein costume designer, Marjorie Sortman sound, Charlie James sound designers, Christian Dwiggins, Chris Trent re-recording mixer, Dwiggins visual effects, Andrew Mitchell assistant director, James Currier casting, Jory Weitz. Screenplay, Eli Roth, Randy Pearlstein, story by Roth. Scott, John Molli, Ike Suri, Jaclyn Ann Suri, Craig Chapman, Robert Ogden Barnum.ĭirected by Travis Z. Co-producers, Lauren Vilchik, Sam Froelich, Michael D. Executive producers, Eli Roth, Cassian Elwes, Jerry Fruchtman, Peter Fruchtman. Produced by Evan Astrowsky, Christopher Lemole, Tim Zajaros. Running time: 98 MIN.Īn IFC Midnight release of an Eli Roth presentation of a Dragonfly Entertainment production in association with Contend/Armory Films, Pelican Point Media and Elevated. Especially if his next film is a remake of “Hostel.” Similarly, by making the deliberate choice to do nothing to distinguish his work from Roth’s, director Z stokes little confidence in his future projects. No breakout stars emerged the first time around, and judging only by their work here, the remake’s ensemble appears headed for the same fate. All “Cabin Fever” conjures is a single question: Why? The answer never arrives.
CABIN FEVER WATCH ONLINE 2016 MOVIE
A better movie might conjure a disquieting atmosphere of dread as its clueless characters await their fates. Otherwise the film is exactly the same as its predecessor, right down to the irritatingly contrived and purportedly humorous banter, cloying backwoods caricatures, and flesh-destroying illness spread by water (any similarities to Flint, Mich., are unintentional and best ignored). Slavishly unimaginative helmer Travis Z (it stands for Zariwny) makes a few tweaks - a smugly provocative racial epithet is excised, the gender of a key supporting player (sleazy Deputy Winston, played here by Louise Linton) is flipped, and the death of one female character is made even more grotesque and cruel (upping the already considerable misogyny quotient) - but to no meaningful end.
He may have been seen by some as a bold new voice in the genre, but time has not been terribly kind to Roth’s reputation.Īnd time certainly hasn’t done any favors for his “Cabin Fever” screenplay, co-written with Randy Pearlstein and resurrected here almost in its entirety. At the time, shortly after the twin successes of “The Sixth Sense” and “The Blair Witch Project,” Roth got some mileage out of hyping his work as a return to down-and-dirty exploitation-style horror.
The plot: Five interchangeably boring college grads set out for a remote cabin in the woods to chill out, smoke pot and have sex, and wind up paying with their lives. Lack of originality feels like a fairly meaningless complaint when Roth’s film was derivative enough to begin with. Who else would feel as much passion for the middling material? And who better to ensure the copy does nothing to improve on the original? The silver lining of a day-and-date limited theatrical and VOD release is that there’s no chance this repurposed dud duplicates the original’s commercial performance. Arriving just shy of 15 years after Eli Roth’s 2002 gorefest scared up enough admirers and box office to launch his career, it’s little surprise that Roth himself is the exec producer of this nearly beat-for-beat redo. If imitation is the sincerest form of flattery, the remake of “ Cabin Fever” reps a particularly po-faced exercise in pointless puffery.
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