But if you’re looking for a rawer, gorier Cabin Fever, this is going to disappoint. The largest change to the film are to its death sequences, which are all changed in some way. Even the pancake shouting Dennis is blander in this version. The new cast merely blends into the shadows of the original roles. Her rendition of the deputy is a glimpse into what the film could have been, had it been more adventurous with its casting choices. Here’s Winston is played by Louise Linton, who brings a fascinating new life to the character. The most interesting casting choice is in Deputy Winston, who was played by the fabulously sleazy Giuseppe Andrews in Roth’s version. Nadine Crocker brings some gravitas to the role of Marcy, but the film seems little interested in using it. Gage Golightly plays the role of Karen, the first to get sick, who suffers from some poor directing choices. Samuel Davis plays Paul and does very little with the little he’s given. Bert the stoner jock has been replaced by Bert the stoner gamer played by Dustin Ingram, doing a poor man’s impression of Thomas Middleditch from Silicon Valley. Paul, the film’s lead, played by Rider Strong in the original, is filled by Matthew Daddario, who brings little new to the role, and has none of Rider’s tragic innocence. The core cast of characters is almost entirely the same, although the acting in this rendition takes a significant hit. Travis Zarinwy’s film does occasionally manage to play with expectations in clever or interesting ways, but the moments are few and far between. Like Van Sant’s Psycho, Cabin Fever takes great joy in recreating scenes, begging to be compared to the original. One can’t help but be reminded of Gus Van Sant’s Psycho, another shot for shot remake. The 2016 version of Cabin Fever plays like a border line experimental film. If you haven’t seen Roth’s original, stop reading this, and watch it.
It’s impossible to discuss Travis Zarinwy’s Cabin Fever without comparing it to Roth’s film.
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