This is very much a sympathetic fly-on-the-wall with Team Chelsea, but, considering the high drama of Manning’s life, the resultant film is muted and disjointed, and given to impressionistic images – such as landscapes out of car windows – when really the time could have been spent telling us more.
Over the past decade, director Takashi Miike has churned out gleefully extreme films Audition, Ichi the Killer and Visitor Q, but it's difficult to detect much subversion in this sober, classical effort
The Green Inferno will be gleefully offensive and unpalatable to mainstream audiences, who may be more similar to The Green Inferno’s victims than they’d like to think. No one could accuse Roth of lacking guts – even if he hasn’t found the perfect recipe for them.
The story almost comes off the rails, but Beetlejuice’s charm lies more in the execution. The movie is crammed with visual invention and snappy comedy. The afterlife is richly imagined as a macabre bureaucracy. The living world is no less outlandish, especially with those eye-popping interiors and costumes.