#Mark webber actor green room serialHowever, proficient as it is, there’s not much here that genre fans won’t have seen a hundred times, apart from the fact that instead of having dumb teenagers getting sliced and diced by hillbillies or supernatural serial killers, here it’s slightly cooler punk rockers up against thugs in Doc Martens. As a bonus, Saulnier and his crew establish the layout of the building clearly so it makes sense where characters are in relation to each other, and where the blind spots are. As action, it’s niftily executed, the suspense neatly built, and the shocks expectedly surprising. Characters are felled by machetes, have their throats ripped out by dogs and slashed by knives, while a few stragglers meet their maker from good old fashioned gun shots. #Mark webber actor green room skinFreaked out and justifiably afraid they won’t make it out alive – despite cobra-smooth assurances of safety from first manager Gabe (Saulnier-regular Macon Blair, star of Blue Ruin) and then the venue’s owner Darcy (Stewart) – the punks barricade themselves inside the green room with Amber and a skin heavy ( Eric Edelstein) whom they manage to subdue.įrom here on out, the film settles into a straight-up seize drama meets stalk-and-slash gore-fest mashup as one by one the punks are picked off as they try to escape, though they take a few skins down with them in the process. One of the skinhead girls they’d noticed earlier has been stabbed in the head and lies dead on the floor, and things don’t look good for her frightened friend Amber (Brit Imogen Poots, doing a pretty good job with the American accent, and implausibly an even better one at making the distinctive skin-style Chelsea fringe haircut look almost attractive). Unfortunately, the afternoon takes a turn for the worse when one of the Ain’t Rights returns to the green room to fetch a cell phone and accidentally stumbles on a murder scene. It turns out the venue is packed with shaven-headed, swastika-inked white supremacists, who spit and throw bottles when the band play their first number, a spirited cover of the Dead Kennedys’ classic “Nazi Punks Fuck Off.” Luckily, in a twist that shows wit and a canny grasp of the porous boundaries between subcultures, the crowd like the rest of the band’s set and they escape the stage unscathed. Thompson), pulls in a favor from his cousin Daniel ( Mark Webber) to get the Ain’t Rights a support slot for a matinee show at a roadhouse in deep-woods Oregon. They’re on the verge of calling it quits and heading home, when Tad, a journalist-booker ( David W. See more Cannes: The Red-Carpet Arrivals (Photos)
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