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A Feast of Flesh
DVD/APPROX. 120 MINS/2006/USA UNRATED
DVD/APPROX. 120 MINS/2006/USA UNRATED
6
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Well, the opening scene with a pimp getting his face ripped off is marvellously gory, in a low budget way, and hooks the shallow horror fan like me
in. And then we get to visit an exclusive brothel called The Bathory House (honestly, do people outside of horror fans and people into true crime
not fuckin’ read?! I mean, who the fuck doesn’t know who Erzebet Bathory was? You just know this isn’t going to end well…), peopled with a
decidedly homely bunch of courtesans and their rather “large-boned” but still kind of cute in a chubby kind of way madam, who just happen to be
vampires. Blood and boobs abound.
Seth has lost his girl Terri, who has told him she’s moving to New York. But when John, Seth’s best friend, sees her at The Bathory House, we know
she’s become a whore. And, unbeknownst to our homeboys, a vampire, too. Women, huh?
In this film’s second act, we move into IRA versus vampires mode – never seen that before – and it keeps getting stranger. When the boys are told
to keep their ideal in mind as a form of protection, most of us would think religion – but what hurts the vampires is the brandishing of whatever is
most precious to you, which makes more sense in an ever-increasingly atheistic world – money, to one of our terrorists, becomes as effective as a
crucifix. Neat idea. The whole idea is, as IRA boss Sheridan states, “It’s not what she believes, it’s what I believe.”
The deal in this film is that the vampires can only feed on those from out of town, not from townies – the taking of Terri is a breaking of the truce
with Sheridan and his merry men, which adds another interesting element to the whole proceeding – that vampirism is tolerated by those in the
know.
I guess that the important issue dealt with here is to do with break-ups in general, and how you deal with them: can you let go or not? But given
the time taken, did it overstay its welcome or not? No – but if Feast of Flesh had have been longer, it would have been bollocks.
The sound is uniformly bad. The letters ADR obviously don’t feature in our director’s lexicon: sometimes muffled, sometimes distorted via excessive
volume, the dialogue deserved better than this.
This film’s strengths? It plays itself straight. Oh sure there’s a bit of tongue-in-cheek comedy, but it doesn’t try to be a balls-out horror comedy. I
kind of appreciated that. Kind of like Ed Wood’s films, or those of Ted V Mikels, this is made with tremendous optimism and heart. It’s campy good
fun, all-round.
Extras: Trailers for American Punks, Blood and Sex Nightmares, Killing Spree, a Making Of featurette, a gag reel (yawn), a commentary with
producer/star Amy Lynn Best and director Mike Watt, an unrelated short film by Josh Smith called A Feast of Souls (said in the director bio to have
been loosely based on Dante’s Inferno – having read The Divine Comedy, I’d say VERY loosely indeed), and the opportunity to get the catalogue to
buy more of Alternative Cinema’s DVDs. I won’t exactly be beating down their doors.
in. And then we get to visit an exclusive brothel called The Bathory House (honestly, do people outside of horror fans and people into true crime
not fuckin’ read?! I mean, who the fuck doesn’t know who Erzebet Bathory was? You just know this isn’t going to end well…), peopled with a
decidedly homely bunch of courtesans and their rather “large-boned” but still kind of cute in a chubby kind of way madam, who just happen to be
vampires. Blood and boobs abound.
Seth has lost his girl Terri, who has told him she’s moving to New York. But when John, Seth’s best friend, sees her at The Bathory House, we know
she’s become a whore. And, unbeknownst to our homeboys, a vampire, too. Women, huh?
In this film’s second act, we move into IRA versus vampires mode – never seen that before – and it keeps getting stranger. When the boys are told
to keep their ideal in mind as a form of protection, most of us would think religion – but what hurts the vampires is the brandishing of whatever is
most precious to you, which makes more sense in an ever-increasingly atheistic world – money, to one of our terrorists, becomes as effective as a
crucifix. Neat idea. The whole idea is, as IRA boss Sheridan states, “It’s not what she believes, it’s what I believe.”
The deal in this film is that the vampires can only feed on those from out of town, not from townies – the taking of Terri is a breaking of the truce
with Sheridan and his merry men, which adds another interesting element to the whole proceeding – that vampirism is tolerated by those in the
know.
I guess that the important issue dealt with here is to do with break-ups in general, and how you deal with them: can you let go or not? But given
the time taken, did it overstay its welcome or not? No – but if Feast of Flesh had have been longer, it would have been bollocks.
The sound is uniformly bad. The letters ADR obviously don’t feature in our director’s lexicon: sometimes muffled, sometimes distorted via excessive
volume, the dialogue deserved better than this.
This film’s strengths? It plays itself straight. Oh sure there’s a bit of tongue-in-cheek comedy, but it doesn’t try to be a balls-out horror comedy. I
kind of appreciated that. Kind of like Ed Wood’s films, or those of Ted V Mikels, this is made with tremendous optimism and heart. It’s campy good
fun, all-round.
Extras: Trailers for American Punks, Blood and Sex Nightmares, Killing Spree, a Making Of featurette, a gag reel (yawn), a commentary with
producer/star Amy Lynn Best and director Mike Watt, an unrelated short film by Josh Smith called A Feast of Souls (said in the director bio to have
been loosely based on Dante’s Inferno – having read The Divine Comedy, I’d say VERY loosely indeed), and the opportunity to get the catalogue to
buy more of Alternative Cinema’s DVDs. I won’t exactly be beating down their doors.
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