What’s really missing from the remake is Roth’s dark humor. If you are going to remake a film about a flesh-eating virus rooted in 1970’s splatter exploitation movies, you need gross, practical effects. I paused the remake a few times just to check how much time was left.Įven the gore effects feel cheap and underwhelming in this pointless go-around. I still don’t understand how they made almost the exact same film, but made it feel longer and duller. Pacing, tension, and suspense – not in this film. Even minor characters from the original film are stripped of any quirks that made them stand out. I could could distinguish one character from another. Cabin Fever’s original characters weren’t likable, but at least they were memorable. The acting is wooden and devoid of charisma – you will miss Rider Strong. The production values are adequate the camerawork is competent. It’ll be be easier to start by pointing out what the remake does well. In fact, the remake so closely follows the original that one wonders why the filmmakers even bothered. It somehow accomplishes this feat while following the exact script. Yes, the remake nosedives on every imaginable aspect of film-making. Most importantly, the Cabin Fever remake accomplishes the phenomenal task of being worse than the original. The Cabin Feverremake is directed by someone who credited as ‘Travis Z”. Cabin Fever Remake Will Make You Want To Tear Off Your Own Flesh Cabin Fever is a minor horror entry but it still makes for fun late-night viewing. The characters may feel generic but that’s largely in part to Roth poking a little fun at exhausted horror film tropes. While the performances nothing special, they’re better than what you can often expect in B-films. ![]() There is a dark sense of humor permeating the film that separates it from other low-budget horror efforts. ![]() The carnage winks knowingly at the audience, never feeling mean-spirited. However, Roth films his violence in a tongue-in-cheek manner. ![]() You’ll never look at shaving the same way again after the original Cabin Fever. Roth assaults the audience with several scenes of gut-wrenching violence. Perhaps best known for his contributions to the “torture porn” horror subgenre, Roth uses the flesh-eating virus narrative to maximum effect. You may love or hate these quirks, but you can’t accuse Roth of being boring or generic. The film’s party-loving Deputy Wilson or Dennis, the mullet-haired boy who randomly screams “pancakes” before inexplicably performing kung fu moves in slow motion are the seemingly random bits that make watching Cabin Fever memorable. Much of what makes Cabin Fever work are its idiosyncratic ticks in storytelling and characters. In Cabin Fever, Roth uses the same B-film aesthetics. Roth, like Quentin Tarantino and Rob Zombie, has a fondness for the grindhouse cinema of the 1970s. Yet Eli Roth’s debut film had some idiosyncratic charms that separated it from other horror films at the time. The original Cabin Fever was a divisive film among critics and horror fans.
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