--- title: "Green Room" year: 2016 kind: "film" canonical: "https://film.one/film/green-room" fi1m_score: 83 critics_score: 69 critics_reviews: 26 published: "2026-09-17T08:14:21.604039+00:00" updated: "2026-09-17T08:14:22.068000+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Green Room (2016) Directed by Jeremy Saulnier · 1h 35m · MPA R · Horror, Crime, Thriller **Fi1m score: 83** · Critics 69 from 26 reviews *In a sentence:* Patrick Stewart makes being trapped with neo-Nazis worse by sounding so reasonable > Jeremy Saulnier’s *Green Room* is a tightly controlled siege thriller with a persuasive sense of panic. Some supporting characters are thin, but the sudden violence hurts and Patrick Stewart’s quiet villainy makes it worse. ## Synopsis A punk band becomes trapped in a backwoods standoff with neo-Nazis. Pat (Anton Yelchin) and Sam (Alia Shawkat) are among those trying to get out, alongside Amber (Imogen Poots), whose resourcefulness becomes important as the confrontation develops. On the other side, Darcy (Patrick Stewart) directs the neo-Nazis with an organiser’s attention to detail. The people inside have to decide how to respond to a man who gives his instructions calmly and expects them to be followed. Leaving means getting past his men, and every attempt to find a way forward has to account for their willingness to use violence. ## Review *Green Room* is a gruelling, skilfully made thriller that earns our recommendation, with a firm warning about the gore. Jeremy Saulnier pits a punk band against neo-Nazis in a backwoods siege and keeps his attention on the immediate business of survival. The attraction is watching frightened people try to think while their options narrow. He makes that process absorbing without suggesting there is anything enjoyable about having to take part. Anton Yelchin gives Pat the uncertainty the film needs. The hesitancy in his performance makes each decision look difficult, even when standing still is plainly no help. Imogen Poots makes Amber’s resourcefulness convincing without turning her into a reassuring guide through the trouble. Their performances let us believe that useful decisions and terrible mistakes could come from the same person, and the small touches of humour do not require anyone to stop being scared. Patrick Stewart plays Darcy, the neo-Nazi leader, with an unnerving lack of fuss. He sounds capable of listening, which makes it easy to understand why the people confronting him might listen back. The writing gives this villain the habits of an organiser, and the performance makes his low-key authority repellent. The character does not need a complicated history to be effective: the care he brings to managing the confrontation is horrible enough. Sean Porter’s cinematography keeps the layout clear enough for us to understand the practical problems facing the people inside. That matters when a thriller asks us to follow small tactical decisions under pressure; confusion would be an easy way of faking excitement. Ryan Warren Smith’s grubby production design makes the confined setting feel usable and unwelcoming, with little sense that it has been tidied for the camera. Even gaffer tape matters, because the film keeps us thinking about what these people have available. Julia Bloch’s editing keeps these practical details moving at an economical pace, allowing us to register decisions without making the characters seem unhurried. The music by Brooke Blair and Will Blair helps maintain the pressure without making the struggle feel grand. More important is the abruptness of the violence, and the ugly physical detail of the gore effects. We recoiled at the wounds: the effects make damaged flesh look horribly ordinary, and the suddenness leaves no comfortable interval in which to prepare. The violence interrupts the tactical thinking, and it is hard to settle back into treating the situation as a puzzle. That concentration does have a cost. The supporting characters are not all given enough to distinguish them beyond their place in the emergency, and the writing sometimes makes their decisions feel arranged to keep the siege going. We could have used a little more of the scruffy humour that gives the punk setting its human scale. These are real limitations, though the actors supply enough frightened, stubborn behaviour to keep the film from becoming a mechanical exercise. A siege thriller needs us to understand the danger and believe that the people inside do not know how to handle it. *Green Room* meets that standard through clear staging and performances that resist looking pleased with their own toughness. Its 95 minutes are enough; we would not want another round of this. If graphic injury is a firm limit, leave this one alone; otherwise, it is worth enduring for the suspense and the cast. *Fi1m score 83, published 17 September 2026.* ## What the critics say Most critics favour Green Room as a tightly controlled siege thriller, with praise concentrated on Saulnier’s staging, economical pacing and sudden, graphic violence. The reviews repeatedly note the clear geography of the action, inventive escape tactics and dry humour amid the bloodshed. Strong ensemble work also earns approval, with Patrick Stewart’s quietly menacing neo-Nazi leader drawing particular attention. For its supporters, the practical gore and convincing desperation make the familiar setup feel dangerous. The spread is wide, however, and agreement on technical skill does not extend to character or substance. Several reviews find less depth and originality than in Blue Ruin, while others see unexpected character detail. Variety admires the craft but finds too little humanity or sustained tension; RogerEbert.com argues that the direction leaves the characters trapped in a schematic plot. Even Stewart divides opinion: Screen Daily finds his role uninteresting. The central disagreement is whether the brutality produces fear or merely unpleasantness. ### Reviews we read (26) - **Los Angeles Times**, Robert Abele (90/100, inferred): Saulnier delivers a demonically gripping, tense and brutal genre triumph that keeps viewers on edge through clever gambits and atmospheric dread. The film is a gonzo knockout of siege cinema whose meticulous craftsmanship outweighs its sickening violence. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-green-room-review-20160415-story.html) - **The AV Club**, A.A. Dowd (A-): The critic praises it as a nasty, punk-as-fuck midnight movie that is even better and bloodier than Blue Ruin, with a strong grasp of characters and desperate situations amid the carnage. [Read](https://www.avclub.com/it-s-punks-versus-nazis-in-green-room-s-grisly-terrify-1798187373) - **Slant Magazine** (3.5/4): The critic sees the film as an unambiguous endorsement of violent revolt against savagery, with thunderous visceral impact and effective uncertainty, though noting some lapses in logic. [Read](https://www.slantmagazine.com/film/green-room/) - **Empire**, Kim Newman (85/100, inferred): Saulnier delivers a powerful suspense picture that meshes spiky suspense and action with blackly comic touches. The film stands out for its inventive siege mechanics and unexpected character depths amid the gore. [Read](https://www.empireonline.com/movies/reviews/green-room-review/) - **Radio Times**, Jeremy Aspinall (4/5): Calls it a pulsating and riveting thriller with breathless tension from the contrast between the pastoral setting and savage violence, comparing it to classic siege films like Assault on Precinct 13 and Straw Dogs. [Read](https://www.radiotimes.com/movie-guide/b-e9mdwp/green-room/) - **The Guardian**, Mark Kermode (80/100, inferred): The critic calls it a gruelling, gutsy suspense ride that takes a box cutter to siege/slasher conventions with sudden visceral violence. Patrick Stewart's silver-tongued neo-Nazi leader is singled out for bringing a Shakespearean edge and political dimension to the drama. [Read](https://www.theguardian.com/film/2016/may/15/green-room-review-patrick-stewart-horror) - **The Times**, Edward Porter (★★★★): The critic praises it as pure pulp that gains from realistic behaviour and good performances, adding unpredictability to its bloodthirsty tussles. Saulnier is commended for making a genre movie with added value, as in his previous film Blue Ruin. [Read](https://www.thetimes.com/culture/tv-radio/article/also-showing-film-0h5cjf3xc) - **Time Out**, Joshua Rothkopf (4/5): Praises the gripping indie thriller with smart commentary on rage fueling violence and art, and highlights the disgusting gore effects achieved with old-school craft. [Read](https://www.timeout.com/movies/green-room) - **Film Comment**, David Fear (70/100, inferred): Saulnier builds a leaner, meaner siege thriller than expected, with controlled chaos, restraint, humor, and graphic violence in the standoff. Strong cast performances, especially Stewart's menacing low-key turn and Poots's resourceful role, stand out. [Read](https://www.filmcomment.com/article/review-green-room-jeremy-saulnier/) - **The Hollywood Reporter**, Leslie Felperin (70/100, inferred): The critic finds the film entertaining as a gory siege thriller but less disciplined, original, and memorable than Saulnier's previous Blue Ruin. Action and suspense are niftily executed with clear spatial layout. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/green-room-cannes-review-796288/) - **Evening Standard**, Charlotte O'Sullivan (65/100, inferred): Saulnier succeeds in crafting a hardcore siege drama that avoids pandering to armchair thugs, though it is less original and authentic than his prior work. The great gore and moshpit energy of mixing punk references make it worth diving into. [Read](https://www.standard.co.uk/culture/film/green-room-film-review-the-skinhead-moshpit-from-your-worst-nightmare-a3247216.html) - **Screen Daily** (65/100, inferred): Notes it lacks the mournful poetry and thematic depth of Blue Ruin but delivers as a nasty B-movie thriller with blood, body count and dark laughs; praises the taut assurance while finding Stewart's role uninteresting. [Read](https://www.screendaily.com/reviews/green-room-review/5087658.article) - **Little White Lies**, David Jenkins (3/3/3): The critic praises the film's skill in crafting a tense punk rockers vs neo-Nazis siege thriller but notes it doesn't deliver more than its modest story allows, singling out the chilling organization skills of the neo-Nazi leader. [Read](https://lwlies.com/reviews/green-room) - **The Telegraph** (3/5): The critic finds the film a grim, pulverising grindhouse exploitation piece with sickening shocks but criticises its predictability and underused characters. Patrick Stewart is noted as criminally underused despite his commanding presence. [Read](https://www.telegraph.co.uk/films/2016/05/12/patrick-stewarts-punk-slasher-needs-more-anarchy---green-room-re/) - **Vulture** (40/100, inferred): The critic calls it Grade-B siege-movie schlock that is aggressively unpleasant despite artiness, strong visuals, and performances, especially Patrick Stewart's villain; it fails to fully live up to its parts. [Read](https://www.vulture.com/2016/04/review-the-green-room-is-less-than-its-parts.html) - **RogerEbert.com**, Simon Abrams (30/100, inferred): The film is an overly fussy thriller whose mannered direction distracts from its punk milieu, though it remains economically paced and visually gorgeous. Saulnier excels at tense standoffs and close-to-the-vest humor but fails to make the characters feel fully alive outside the schematic plot. [Read](https://www.rogerebert.com/reviews/green-room-2016) - **The New York Times**, A.O. Scott (30/100, inferred): The movie begins with a scruffy comic flavor before turning into a tense and nasty siege film filled with gruesome violence. Patrick Stewart’s against-type villainous turn stands out as a highlight amid the horror-movie logic that becomes more gruesome than terrifying. [Read](https://www.nytimes.com/2016/04/15/movies/green-room-review.html) - **Variety**, Guy Lodge (30/100, inferred): Saulnier demonstrates machete-sharp craft and puts an ensemble through the wringer in this ultraviolent backwoods horror-thriller, but it lacks human element, characterization and sustained tension. The technically sharp midnight special dissipates in an anti-climactic final third despite strong contributions below the line. [Read](https://variety.com/2015/film/festivals/green-room-review-1201498852/) - **Collider**, Perri Nemiroff (A): The critic praises the film's expert shooting, pacing, and layered script, highlighting the intense standoff and impressive gore effects. Saulnier creates an enthralling, adrenaline-fueled experience that makes one want to watch it again. [Read](https://collider.com/green-room-review-tiff-2015/) - **The Playlist**, Oliver Lyttelton (A-): Commends the exciting, splattery, funny siege thriller as better constructed than Blue Ruin with strong ensemble performances, textured characters, and a detailed punk/skinhead setting; singles out the brutal violence and satisfying payoff. [Read](https://theplaylist.net/review-jeremy-saulniers-exciting-splattery-funny-thriller-green-room-20160414/) - **Consequence** (B+): The film maintains Saulnier's knack for hair-trigger tension with a gripping premise executed beautifully, featuring impressive attention to detail and verisimilitude in the battle. The cast delivers understated performances that add to the atmosphere of psychological fear and visceral horror. [Read](https://consequence.net/2016/04/tiff-film-review-green-room/) - **HeyUGuys**, Ty Cooper (4/5): Praises the intense, graphic thriller and especially Patrick Stewart's villainous performance as a terrifying Nazi leader; notes it's not for the faint of heart and highlights Saulnier's emerging voice. [Read](https://www.heyuguys.com/green-room-review/) - **The Skinny**, Josh Slater-Williams (★★★★): A nerve-shredding exercise in tension and occasional outright horror with a mean streak, delivered through tight, economic storytelling. It keeps things simple and scary without shallow excess. [Read](https://www.theskinny.co.uk/film/cineskinny/reviews/green-room) - **Den of Geek**, Ryan Lambie (4 out of 5): A well-made, lean and fast-moving siege thriller with grubby texture, dry wit, and wince-inducing graphic violence that feels realistic. It loses some intimacy in the final third but remains tense and effective overall. [Read](https://www.denofgeek.com/movies/green-room-review-2/) - **Eye for Film**, Amber Wilkinson (****½): Finds it less psychological and more formulaic than Blue Ruin but still relentlessly entertaining with inventive action, comedy, and a tight grip on the siege setup; singles out the precise timing of punchlines alongside blood spatter and the use of gaffer tape. [Read](https://www.eyeforfilm.co.uk/review/green-room-2015-film-review-by-amber-wilkinson) - **Paste**, Kenji Fujishima (7.2): Saulnier delivers a high-concept thriller between a punk band and neo-Nazis, wringing tension from the pulpy plot with strong performances and economical filmmaking. It stands as one of the best B-movie genre exercises, though its shallowness becomes apparent upon reflection. [Read](https://www.pastemagazine.com/movies/green-room) ## Details - **Director:** Jeremy Saulnier - **Director:** Jeremy Saulnier - **Writer:** Jeremy Saulnier - **Cinematography:** Sean Porter - **Editor:** Julia Bloch - **Music:** Brooke Blair, Will Blair - **Production design:** Ryan Warren Smith - **Costume design:** Amanda Needham - **Producer:** Neil Kopp, Victor Moyers, Anish Savjani - **Cast:** Anton Yelchin as Pat; Imogen Poots as Amber; Patrick Stewart as Darcy; Alia Shawkat as Sam; Joe Cole as Reece; Callum Turner as Tiger; Macon Blair as Gabe; Mark Webber as Daniel - **Runtime:** 1h 35m - **Certificate (MPA):** R - **Release (the US):** 29 April 2016 - **Genres:** Horror, Crime, Thriller - **Budget:** $5 million - **Box office:** $4 million - **Trailer:** https://www.youtube.com/watch?v=T_Tklsuiako ## Where to watch in the US - Netflix: streaming - Tubi: free - Amazon Prime Video: rent $2.99, sd - Amazon Prime Video: buy $12.99, sd *Checked 2026-09-17.* Also available in: AT, AU, BG, CA, DE, DK, ES, FI, FR, GB, IE, IT, NL, NO, NZ, PL, PT, US. Add `?region=XX` to this URL for another country. ## Awards - IFFR audience award 2016: IFFR audience award (nominated) ## If you liked this - *Assault on Precinct 13* (1976): Another confined siege where clear geography makes every tactical decision matter. - *Blue Ruin* (2013), Fi1m 84: Jeremy Saulnier gives frightened amateurs more time to reckon with violence here. — [Fi1m page](https://film.one/film/blue-ruin.md) - *Attack the Block* (2011), Fi1m 84: Young people under siege, with sharper jokes and considerably less punishing violence. — [Fi1m page](https://film.one/film/attack-the-block.md) - *The Raid* (2011), Fi1m 83: A trapped ensemble and precise action, though physical skill replaces panicked improvisation. — [Fi1m page](https://film.one/film/the-raid.md) - *The Vanishing* (1988): For the same dread of calm, methodical evil, without the siege machinery. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/green-room