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MOVIE REVIEW: Troian Bellisario's "Feed" Is A Psychological Thriller Exploring Grief And Eating Disorders

wow. quite a film... excellent review.

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Troian Bellisario’s “Feed” Is A Psychological Thriller Exploring Grief And Eating Disorders: Review

The first thing that strikes you as off about Feed is Troian Bellisario’s ( Pretty Little Liars ) blue contact lenses. Early on in the film, they are so pale and flat as to be distracting, but as the film goes on, I wouldn’t be surprised if they were meant to be intentionally creepy. After all, Tom Felton ( Harry Potter ), who plays Bellisario’s twin brother, has naturally blue eyes. And with his mop of Draco Malfoy-blond hair dyed brown to match Bellisario’s, they certainly make a creepy pair of twins.

Feed’s IMDB summary reads: “Olivia and Matthew Grey are 18-year-old twins born into a world of privilege and high expectations. There are almost no boundaries between them; even their dreams are connected.” That description definitely buries the lede, so make no mistake: Feed is a horror movie (of the psychological sort rather than the stabby-bloody kind), written with consideration and acuity by Bellisario and directed by Tommy Bertelsen. Bellisario and Felton play Olivia and Matt, twins born into a wealthy but chilly family, meaning they’ve basically had to rely solely on one another for the support and love they needed growing up. Olivia is a classic type-A personality who immediately begins stressing out about her GPA at the beginning of senior year after she’s told she’s top of her class; Matt is much more relaxed and charismatic, unburdened with expectations of perfection. During a fight on the way home from a house party, where Matt hints at a disturbing level of possessiveness over his sister, their car gets into an accident. Matt dies, leaving Olivia behind, adrift and distraught, yet unable to let him go as she spirals rapidly into a breakdown.

While it hasn’t gotten as much press as To the Bone ,  which heavily advertised its eating disorder-related plot, Feed does address eating disorders as part of a larger mental anguish, refusing to indulge in any behavior that might trigger similar practices in the viewers. There’s no mention of calories, for one thing — nothing specific that could be imitated or adopted as a meal plan. The script smartly focuses on the damage that begins to wear Olivia down as her body’s shape and size begin to match her mental state. We see her exercising in the middle of the night; we see her shrinking in her clothes and wasting away, her skin turning grayish yellow and eyes dull and unseeing; we see her lashing out as her teachers begin to express worry over her, even as her parents completely miss her suffering. Most importantly, we are never allowed to forget that Olivia’s refusal to eat is intrinsically linked to her visions of Matt — seemingly returned as a kind of ghost — who soon turns out to be a manifestation of her eating disorder itself. Olivia’s inability to accept Matt’s death leads her to “save” her food as if saving it for him, bringing napkin-wrapped bundles of her dinner to the tree in their yard where they used to play. And while Matt’s “return” might seem like Olivia is getting some unearthly second chance to make things right with her brother, the Matt in Olivia’s head begins to torment her, eventually goading her to attempt suicide to join him, and — most significantly — threatening to abandon her when she seeks recovery.

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Bellisario is haunting in the title role, but Felton steals the show as the increasingly vengeful hallucination of Matt, practically chewing the scenery in some of the later scenes as Olivia’s mourning turns uglier and uglier; their bond is perfectly believable, which makes Feed all the more devastating, and for all its potentially cliché plot points — the house party where things go wrong, the car crash, the hallucinations, the suicide attempt — it never loses its edge. Even the most cringe-inducing moment of all, when Olivia has flashbacks and dissociates so fully during sex with her love interest (Ben Winchell, Max Steel ) that she cries out her brother’s name, doesn’t feel like Bellisario is exploiting the bordering-on-inappropriate relationship that always existed between the siblings, but uses it to represent a new nadir in Olivia’s condition. Olivia’s mental illness isn’t treated as some whammy plot twist — Matt’s ghost was Olivia’s brain the whole time! — due to how clearly it’s developed and advanced in concert with her eating disorder. Most importantly, it’s clear at the end of Feed that despite looking healthier and putting on weight, Olivia isn’t all better, and that getting better will take more than a meal with the boy who loves her and a pep talk with her therapist.

Apart from Bellisario and Fenton, sadly, the performances in Feed are nothing to write home about; it seems like Paula Malcomson is destined to keep playing sad, underwritten mother characters since her turn as Katniss’ mother in The Hunger Games , while James Remar ( Dexter ) fails to elevate the role of Olivia and Matt’s father beyond tired paternalistic bluster about making sure his daughter is home on time.

Bellisario has been quite open about her struggles with disordered eating during the press for Feed , even writing a devastating Lenny Letter in July about her experiences dealing with her illness while filming Pretty Little Liars ; taken in concert with the larger feminist concerns she’s expressed in the past, it’s clear that Feed is a project that means quite a lot to her (she worked on it for nearly a decade). Beyond the brutal depiction of the toll of eating disorders, though, Feed is a powerful examination of grief, and what it means to love someone and lose them without losing oneself in the process. As such, I look forward to seeing Bellisario’s continuing evolution as a writer and actor.

Feed is available on VOD.

Top image: Feed

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Feed Me – Movie Review (4/5)

Posted by Karina "ScreamQueen" Adelgaard | Oct 27, 2022 | 4 minutes

FEED ME is a new horror-comedy about a truly deranged cannibal. But at least he’s honest about his desires which makes for a different kind of cannibal story. A solid runtime of 96 minutes. Read our full Feed Me  movie review here!

FEED ME is a cannibalistic horror-comedy that works. So much about this story is absolutely crazy and the truly deranged cannibal at the center of this plot makes it even crazier. Still, it just works because of the way it evolves.

MORE HORROR COMEDY REVIEWS Check out our “horror-comedy”-tag here >

As with most horror comedies, the runtime needs to match the story. Well, with a runtime of 96 minutes, this horror-comedy does actually manage to keep it rather tight. Oh, it gets wild and crazy, of course, but thanks to the way it builds up, it gets away with this.

Continue reading our Feed Me  movie review below. It premieres On-Demand on October 27, 2022.

A cannibal with morals

Okay, saying he has morals might be going a bit too far, but still. I mean, he is very honest about wanting to eat a person. And he doesn’t do anything until the person has signed a contract. So there’s that.

In any case, it all begins when Jed finds himself desperate to escape this world. His life was shattered when his wife, Olivia (Samantha Loxley) dies very suddenly. Jed (Christopher Mulvin) feels directly responsible.

ANOTHER CANNIBAL MOVIE Be sure to check out the  awesome Hulu movie  Fresh  here >

Unfortunately, he finds himself in a bar with Lionel Flack (Neal Ward) just when his depression is at its worst. Lionel Flack is a truly deranged cannibal, who convinces Jed that he can redeem himself of his guilt.

All he has to do is go through the glorious act of letting himself be eaten to death. Slowly!

As I said, at least this cannibal is up-front about his desires and lets Jed decide if this is something he wants.

A fierce cast

It probably goes without saying that the real star of  Feed Me , is the actor playing the cannibal. Neal Ward has this honor and he goes crazy with it. In all the right ways. Neal Ward was also in the previous film from the same filmmaker duo. And he was awesome in that one too .

You’ll probably be a bit distracted by the crazy American accent. Lionel Flack (Neal Ward) is a man of many surprises. Including not being able to say exactly where his accent is from, so there’s that. Also, his hair is crazy, so you know this will also be a thing later on in the story.

As the man being slowly eaten (and having volunteered to this), we see Christopher Mulvin as Jed. Very quickly, he ends up with the same physical features as one of the war veterans from The Peripheral . Yeah, it’s bad, but he is trying to redeem himself.

Anto Sharp and Nadia Lamin play police officers who end up involved with the cannibal in a roundabout way. All scenes with these two are actually very strong as well.

Watch  Feed Me  when you can!

Adam Leader and Richard Oakes are the co-directors and co-writers of  Feed Me , which feels very much on-brand for these wacky filmmakers. To be fair, Adam Leader is the writer of the screenplay, but both get credit for coming up with the crazy story.

On the other hand, Richard Oakes is the cinematographer. So they do still share the filmmaking process and responsibility in a very equal way!

Their previous movie was Hosts   (2020) which is also a very wild and wacky movie. It had a bit more of an issue with pacing, which has become better with  Feed Me . I did like their previous movie as well, though.

What’s really awesome when it comes to Adam Leader and Richard Oakes movies is the fact that they go all in. When they have to choose between holding back or moving forward into the  really  uncomfortable moments, they throw themselves (and the story) deep into the uncomfortable.

However, since comedy and dark humor is also key part of their storytelling, it just works. Well, for me anyway. Just don’t try to eat anything while watching this horror comedy!

Feed Me is out on digital and on-demand platforms from October 27, 2022. 

Directors: Adam Leader, Richard Oakes Script: Adam Leader, Richard Oakes Cast: Neal Ward, Christopher Mulvin, Hannah Al Rashid, Samantha Loxley, Anto Sharp, Nadia Lamin

Following the death of his wife, a broken man spirals into an abyss of night tremors and depression and finds himself in the home of a deranged cannibal who convinces him to take his own life in the most horrific way imaginable.

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About The Author

Karina "ScreamQueen" Adelgaard

I write reviews and recaps on Heaven of Horror. And yes, it does happen that I find myself screaming, when watching a good horror movie. I love psychological horror, survival horror and kick-ass women. Also, I have a huge soft spot for a good horror-comedy. Oh yeah, and I absolutely HATE when animals are harmed in movies, so I will immediately think less of any movie, where animals are harmed for entertainment (even if the animals are just really good actors). Fortunately, horror doesn't use this nearly as much as comedy. And people assume horror lovers are the messed up ones. Go figure!

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FEED 's Most Accurate Element Is Its Scariest

Feed' s most accurate element is also its scariest, more from movies, r29 original series.

‘Feed Me’ Imagines A World Where Ted Lasso Is A Flesh-Craving Cannibal [FilmQuest 2022 Review]

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Feed Me  opens with a woman found dead as her husband makes a desperate phone call. But it’s a call that she’s never going to answer. We’re thrown into chaos and try to figure out what happened as we begin following Jed (Christopher Mulvin). Jed is the husband that made the phone call and we now watch him as he grieves. We find out his wife suffered from bulimia, which was a strain on their marriage. At this point, everything looks fairly bleak. The movie seems like it’s about to be a weird thriller about eating disorders or yet another mediation on grief. Even the lighting and cinematography seem to support this. However, after his wife’s funeral, Jed meets Lionel (Neal Ward). This meeting serves as an abrupt tonal shift that also sets us on a harrowing journey, to say the least.

Also Read: ‘Exegesis Lovecraft’ Is An Honest Look At The Lovecraft Legacy [FilmQuest 2022 Review]

Because Ward seems to be doing an amazing Ted Lasso impersonation in a bad wig, we can’t help but laugh. I’m unsure if directors Adam Leader and Richard Oakes pitched it to Leader as, “ Ted Lasso  but make it cannibal.” Or perhaps it was the actor’s choice. All I know is, that it was so funny and off-putting for a good chunk of the movie. At least until it became stale, and started to feel like a hindrance to the film and the actor. However, waiting until almost the end to see what Leader is capable of was worth the wait. One of the saving graces of  Feed Me  is that it gives this actor a vehicle to go completely off the rails. And we love to see it. 

While waiting for the Lasso Effect to wear off, Lionel convinces Jed to let him assist Jed with ending Jed’s life. Jed finds out Lionel is a cannibal that would love to eat him piece by piece. Shockingly, Jed moves into Lionel’s disgusting home. He also cooks up a scheme that never truly makes sense. We get some fun blood work as our deranged Ted Lasso (aka Lionel) hacks off Jed’s limbs. We also see Jed’s visions of his wife to remind us he’s still grieving. It’s dark to say the least and causes us to lean forward a few times as we try to figure out if we’re having fun or just needing to see where  Feed Me  is going.

Also Read: ‘#Chadgetstheaxe’ Is Scary, Funny, and #Sodamngood [FilmQuest 2022 Review]

Feed Me  has random scenes of levity mixed in because it’s supposed to be a dark comedy. We get Lionel flirting with a lady but talking about his roommate (Jed) until his intended target thinks he’s dating the guy. We also see police officers being worthless as Lionel feeds them parts of Jed that he’s passing off as meat. They don’t seem to care that his house looks like it’s from  Silent Hill . The movie feels like a grab bag of ideas and a few sketches that go on for way too long. 

I’m not sure what  Feed Me  set out to do. I’m also not sure if my need to see where it would go qualifies as having a good time. It feels like there are some good ideas here that are just buried by trying to do a few too many things. 

Let me know if you have gotten a chance to watch  Feed Me  at  @missshara i.

There’s a lot of ideas here that never fully meld together. However, we get the joy of watching a cartoonish villain use a saw and slowly eat a man. Sometimes that’s all we can ask for.

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‘Feed Me’ Trailer Has a Taste for Consensual Human Consumption [Exclusive]

Ahead of the Beyond Fest World Premiere on October 6th, Bloody Disgusting has an exclusive look at the art and trailer for the cannibal horror Feed Me , directed by  Adam Leader  and  Richard Oakes .

XYZ Films will release the horror comedy  October 27  on all digital and on demand platforms.

Feed Me  follows Mulvin’s character Jed, whose life is shattered when his wife, played by Loxley, suddenly dies and Jed feels directly responsible.

“Spiraling into an abyss of depression, he finds himself in a bar with a deranged cannibal, Lionel Flack (Ward, in a truly star-making performance) who convinces him he can redeem himself through the glorious act of allowing himself to be slowly eaten to death.”

The film stars  Neal Ward ,  Christopher Mulvin ,  Hannah Al Rashid  and  Samantha Loxley . It was produced by Ed Polgardy ( The Wretched ) along with Adam Leader, Richard Oakes and Neal Ward.

You are who you eat…

Horror movie fanatic who co-founded Bloody Disgusting in 2001. Producer on Southbound, V/H/S/2/3/94, SiREN, Under the Bed, and A Horrible Way to Die. Chicago-based. Horror, pizza and basketball connoisseur. Taco Bell daily. Franchise favs: Hellraiser, Child's Play, A Nightmare on Elm Street, Halloween, Scream and Friday the 13th. Horror 365 days a year.

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By Bobby LePire | October 27, 2022

The horror-comedy Feed Me , from a story idea by directors Richard Oakes and Adam Leader (who wrote the screenplay), finds the absurdity in an intense situation. Comedy abounds as the filmmakers dive deep into what makes a broken person want to stop living and those willing to assist. The question then is, do they successfully balance both tones and deliver an engaging motion picture?

Jed (Christopher Mulvin) is reeling from the death of his wife. While she suffered from mental health problems that strained their relationship, Jed loved Olivia (Samantha Loxley) very much. Feeling despondent, Jed meets the odd Lionel (Neal Ward), who offers him a way to see his love again — excruciating pain and death.

Specifically, Lionel is a sociopathic cannibal who wants to eat the grieving widower, with each meal bringing him closer to his deceased wife. Jed, adrift in a sea of anguish and heartbreak, agrees to let Lionel eat him. As fingers and limbs are chopped off and cooked, Jed doubts that this is what he actually wants. Complicating matters are two police officers (Anto Sharp and Nadia Lamin) investigating a disturbance at Lionel’s home.

Feed Me is bold, brash, in-your-face, and bloody good. However, two things might make viewers tune out right away. Well, that’s aside from the squeamish, who should not attend a screening, as the film is gruesome. For everyone else, the issues both revolve around Lionel. Ward wears a heinous, ill-fitting, matted wig for the entire runtime. On top of that, the actor’s exaggerated “Texan” accent (in the loosest possible sense) is more awkward and goofy than authentic and creepy. However, stick with it, as these are part of Lionel’s backstory and public persona. Granted, it takes an hour for this to come to light. By that point, the character could annoy audiences right out of the story.

“ Jed, adrift in a sea of anguish and heartbreak, agrees to let Lionel eat him .”

But Ward gives the part 150%, being charismatic and fun in an appalling role. As such, one never questions how he draws Jed into his twisted scheme or why Alex (Hannah Al Rashid) is charmed by his odd antics. One will instantly feel Mulvin’s sorrow as the actor conveys so much with a glance or turn of his head. Mulvin and Ward play off each other well. So much so that all watching will believe the two are becoming actual friends, despite the horrific thing that bonds them.

Another aspect of Feed Me to be lauded is the grimy, squalid production design. Lionel’s place is a putrid, festering mess. Much like how The Texas Chainsaw Massacre is beloved for its atmosphere because it looks disgusting (the only reason that boring POS has fans), Oakes has crafted a lived-in world full of decay to the point where one can practically smell the reeking stench just by looking at any given scene.

But, perhaps most importantly, Oakes and Leader allow the drama of Jed’s story, the goofiness of Lionel, and messed up situation the leads are in to comingle without issue. As the plot wears on, it becomes evident that the cannibal is masking pain under his silliness. This adds an engaging dimension to both the character and the humorous moments. Jed’s spiral into depression is so raw viewers cannot help but be moved by it. Meanwhile, the carnage, mutilation, and blood are so potent and disgusting (see above paragraph) that the film is truly unnerving.

Feed Me mixes the scares, drama, comedy, and heart to great effect. While Lionel’s look and accent might turn some off, being intentionally bad, there’s a reason for it that works when all is said and done. The cast delivers where it counts and shares excellent chemistry. In addition, the production design is astonishing, adding a chilling atmosphere to the proceedings. Overall, Oakes and Leader have hit a horrifying home run.

Feed Me (2022)

Directed: Richard Oakes, Adam Leader

Written: Adam Leader

Starring: Christopher Mulvin, Neal Ward, Samantha Loxley, Anto Sharp, Nadia Lamin, Hannah Al Rashid, etc.

Movie score: 9/10

"…a horrifying home run."

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Lol, if you think Texas Chainsaw is a boring pos, I can’t take your horror movie opinions seriously.

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Exclusive: ‘Feed Me’ Cast & Crew Chew Over Their Horror Film

Horror films are plentiful in this day and age. You can throw a stone out the window, and it’ll hit the latest Blumhouse-produced movie . That said, it’s really about the next bat-s**t crazy horror movie that’ll grab audiences’ attention. Case in point, Feed Me by Adam Leader and Richard Oakes is just such that horror film.

The premise of XYZ Film’s Feed Me is somewhat based on reality. The story follows Jed, played by Christopher Mulvin, suffering from losing a loved one. Jed meets Lionel Fleck, played by Neal Ward. A s**t-kicking Texan who simply wants to eat Jed. If that sounds oddly familiar, it’s because the filmmakers gained the idea from a German newspaper story on cannibalism published in 2001.

Leader and Oakes took the idea and ran with it to form the world of Feed Me , resulting in a story featuring friendship, loss, comedy, and a lot of blood. We were able to speak with the lead actors and directors about the concept of the movie, their character development, and the possibility of a prequel.

So Feed Me is based on actual events. How much research did you guys do to depict it somewhat accurately?

Adam Leader : Well, it was inspired by the Armin Meiwes story. The story is about the guy who willingly let a cannibal eat him. In terms of recreating that story, no, this film does not do that. It was just inspired by that. We just were chatting mundane, me and Rich [Oakes] about, “How mental would it be to actually make a film about a guy who willingly gives himself up to a cannibal to eat him.” And, as usual, our very dark sense of humor and strange tastes got the better of us. So we ended up creating the world of Feed Me.

I totally get that. I mean, I would have to understand that you guys took a lot of liberties with the story because I’m sure I didn’t hear anything about wild cannibalism like that going on

Richard Oakes : But shouldn’t that be?

*We shared a collective laugh at Richard’s comment.*

Who conceived Lionel Flack? His whole personality and everything, who came up with that idea?

Richard Oakes : It was a mix of all of us. There are definitely elements of all three of us in Lionel, which is the beauty of him. Cause I don’t think any of us can truly own him in that kind of way. Visually I had a lot of input–his mannerism and dialogue-wise. Adam had a lot of input, and the situations he does and the mess he gets into is both me and Adam [Leader] working that out. Then the mannerisms and the way he is and there’s ticks and everything was very much Neil [Ward]. Yeah. Neal, do you want to add anything to that?

Neal Ward : Yeah, I suppose it’s pretty much an amalgamation of everybody. The guys came up with who he was, and the script turns up, and I read through that and go, “Right, this is what they kind of want.” And then feeding them back ideas, “Is it like this?” He has a sort of limp hand that points when he is a certain way in the film. His walk was created; it’s always bouncing back off them. It was literally the icing on the cake. I suppose it just came from what I had brought in each scene. But that was very much worked out throughout the process before passing it back between the guys. But yeah, it was a fun one to create, put it that way.

I feel like the character is a cross between Hank Hill from King of the Hill and Leatherface ramped up on speed

Neal Ward : Yeah, he started as something very serious, then turned into something goofy. The initial onset idea was to keep him very cool, calm, a collective deep South Texan Tommy Lee Jones-esque kind of guy — Jon Bernthal. But my take on the end where it went to was Eugene from The Walking Dead, Foghorn Leghorn, and Beetlejuice amalgamation. Because so different from what I first thought it would be. But yeah, it became Lionel Flack.

So, Neal, the character, sometimes gets pretty wild, especially during the third act of Feed Me. Did you have to pull back on your interpretation of the character, or were you just given free rein to go as far as you could?

Neal Ward : I think that from the direction the guys have given me, all those bits, I mean the final third is very much Lionel losing it. His desperation to sort of rectify the situation he’s found himself in. I think what’s great about working with the guys is how they allow me to bring something forth. First, refine if it’s something that doesn’t quite match.

Adam would constantly come over and give me little things in the ear that no one else would hear just to pull something else out. That final third is — I  had to go so deep with it for it to work, and they sort of, “Yeah, you can do what you wish to appoint with that.” It has to go somewhere, obviously. But I just let all hell loose in my brain, and then they’ve done a good job editing it.

Neal and Chris. Since you guys have a “relationship” in Feed Me, how closely did you have to work together to ensure you got that chemistry right?

Christopher Mulvin : Well, I mean,  me and Neil have worked together beforehand. So we’ve already got quite a good relationship before — quite comedic characters. Throughout my process, itself, I was really sort of struggling to identify the sort of depressed side, having a look into the dark elements. I’ve done a majority of comedic performances.

So Neal and I were working on the scripting itself and seeing these different elements of what I can bring out as the character and stuff. Then also, while we were on set, Adam and Richard gave us our directions. We would always lay out on the plate, no pun intended, the idea of what our character was and what we were trying to go for. Then we would always get the sort of guidance, the correct guidance to sort of portray that well.

There are a lot of elements of comedy where we’ve got that hype all the way through and stuff. But there are also the depression sides where we have to sort of bring everything to a good level. So we were both bouncing off each other back and forth for that. Helping each other out as well on these different elements where it’s —

Neal Ward : It’s a good buddy movie as well. We still have that relationship you speak about, and it does help that we’re friends in real life. We don’t hate each other outside of work. *Laughs* But we did bounce nicely and brought our friendship into it instead of those moments.

Christopher Mulvin : That’s it. It was like cause we were actually staying on location, Neil and me as well. So in the evenings and stuff, for the next day, working on different bits and seeing how we can tackle that for the day. So yeah, it was just — again, ’cause we all know each other and stuff. It was just like working with a family–absolutely amazing.

Everybody giving each other the correct guidance and stuff, really flowed for me anyway. Just in that kind of process, instead of “Ooh, stressful. I’m not really too sure if people are liking this and stuff.” Everyone was like, “Oh no, we’re helping each other out in all aspects, which is good.

Well, my follow-up is for Chris. Since you were talking about your process, how much did you have to prep for those emotional gut punches?

Christopher Mulvin : Yeah, so, essentially, I kind of struggled to maintain the character all the way through the element. Even after filming and stuff, I don’t like the idea of having to stay in that sort of mindset. Cause obviously, with that oppressive sort of segment with each scene we were doing; it would be a case of me going into a room.

Bless the crew for going like, “Okay, we’re now going into quite a difficult segment of the film.” You know, with the depression and the darker side of things. They gave us all that amount of time for us just to get into those places and stuff. I would go into my room, and Neil is just listening to different music. That’s how I prepped for quite sad and emotional moments.

And then these guys had already set up and ready to go. But, of course, that takes a bit of time. So that gave us that time to get into those elements, and it was a case of how long you needed. I remember Adam and Richard saying, “Just take your time now. We are ready to go, but we want you to be in that kind of place where you are ready. You are ready just to walk straight out and then go.” So that was a really nice sort of process for me.

Feed Me gets into cannibalism pretty quickly; I think 10 minutes into the movie. Was there ever a point in the original script where Adam and Richard had stretched the beginning further into the grieving part of Chris’s character?

Adam Leader : Well, there was a lot more. I guess we can call it meat and potatoes to Jed’s story from the start to when he gets to Lionel’s department. But it was in the editing process when we looked through it, and we felt we didn’t need to show as much. We don’t need to keep hammering it at home that he’s depressed, having another drink, or doing this now. So it was kind of like, “Right, we get it, let’s get to the actual meat of the potatoes of the film quickly.” And because this film is going to be sold to an audience that will want to see the horror of this film and the bad shit craziness and stuff.

We really did feel like we were trying to hammer her on too much. What you see in the film now is enough time to establish Jed, what he’s going through, and the loss and grief he’s feeling. That’s a testament to Chris for being able to portray that and bring that to the table. It’s hard to do. And also the same with Neil when it comes to Lionel. Yes, he’s this larger-than-life character and stuff.

It was done fantastically, but then those moments in the film, those dark moments where you see Lionel’s real side and the sadness he carries with him. It’s a testament to him and both of them — the cast was just amazing. We could not have asked for a better cast for this film.

So there are a couple of scenes in Feed Me where the cops are dropping the ball, so to speak. Was that an intentional commentary on the British Police Force or just cops in general?

Richard Oakes : Well, it was a few things, but I think we just found it funny that they were just so incompetent. It’s just incompetence is my favorite type of humor. It just makes me laugh. We were worried that people might initially go in and say, “Oh, that’s unrealistic that they would do that.” But it’s a comedy, and I just love the incompetence of it. *Laughs*

So as we mentioned earlier, the third act of Feed Me gets pretty wild. Did you have pullback on that, or were you guys able to shoot everything you wanted, and it ended up in the film?

Adam Leader : Pretty much. I mean, everything you see is the most extreme the actors took it to. There are a few deleted scenes. Some of them are actually quite funny, but as we said, there was some stuff we had to cut for the sake of the final cut of the film. But perhaps we’ll be able to release those deleted scenes as a bonus feature at some point in the near future. But some of them are quite funny. One involves Jed getting fired, and another involves Lionel in his underpants at a dry cleaner.

Neal, this is a ridiculous question, but I’m just so curious about it. How many side businesses do you think Lionel has? Because there’s that scene where he’s pulling out all these business cards and hands the girl “dry cleaner.”

Neal Ward : I think the three that are there and, I think, there were three. I think every time he does one of these things in every time he does those actions in the film, every new person is introduced. I think when he gets outed, I suppose, is the way to say it without giving too much away. He goes and finds another one and survives that way. Like, your house burns down, you get another one.

If your dog dies, you go a couple of months later and get another one. You go and just collect these personas. I think that’s pretty much what he does. So I reckon it is a good 15, 20, let’s keep it there. I guess where I created that, he would’ve done these people. I think he treats these like trophies or caricatures he’s created.

I’m very curious if there’s a prequel idea because there’s so much to explore with the Lionel character. Especially with his feelings toward his mother.

Richard Oakes : Well, we wrote another quite similar film. It was only after we nearly finished writing this that we were like, “Actually, that could really work as a prequel to this.” And we started putting elements from that into this, but whether we ever go there, I don’t know. But it did serve to pull in and pull from ideas of where he’s coming from in certain ways. And whether that’s continued to be canon in our minds, I dunno. But it definitely has ideas there that could definitely work pretty cool-wise.

Adam Leader : It’s a possibility for sure.

Oh, I hope so. I’d love to see the world of Feed Me expand. 

Feed Me is now streaming on VOD services, and this writer highly recommends that you check it out.

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Feed Me Reviews

Feed Me mixes the scares, drama, comedy, and heart to great effect.

Full Review | Original Score: 9/10 | Oct 27, 2022

An interesting spin of cannibalism as an eating disorder, Feed Me will satisfy the hunger of those craving a mixture of The Cable Guy and American Psycho.

Full Review | Original Score: 3/5 | Oct 9, 2022

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Film review: feed the gods (2014).

Corey Danna 12/17/2014 Uncategorized

When slacker/aspiring filmmaker Will finds the parents of his adopted brother Kris, he sees the opportunity to get some closure for his brother, as well as maybe capture a heartwarming reunion on camera. With Kris’ fiancé Brit in tow, the three of them head out to discover this long-lost family. What they are unprepared for though, is what exactly the cryptic small town has in store for them. Weird locals abound and rumors of a Bigfoot creature haunting the area at first seem silly…but things quickly escalate into a frantic, scary and action-packed nightmare with more than a few casualties along the way.

There have only been a handful of bigfoot films over the years, many of them failed to resonate with horror audiences (except for silly B-movie fun but those don’t count). The past year has seen the release of two movies about the gigantic harry beast, first of which was Bobcat Goldthwait’s WILLOW CREEK, a found footage film that has it’s moments but drags on for what seems like an eternity. Now there is FEED THE GODS, an independently produced horror film that tends to work on many levels. This is only the second film from writer/director Braden Croft and he seems to be a confident filmmaker with some interesting stories to tell.

Will (Shawn Roberts) and Kris (Tyler Johnston) are both coping with the death of their foster mother. As tough as it is for them, dealing with each other may prove to be more difficult. Kris and his lady Brit (Emily Tennant) are in the midst of starting a new life together and that includes packing everything up and moving away to New York. Will may be the older brother but he’s less established, a guy who wants to be a filmmaker but is really nothing more than a slacker. When they get a box of personal belongings left by their foster mother, Will discovers a VHS tape. After he sits down to watch it, there’s a young couple featured on it, their real parents.

The video was shot in some small, lost to the world town and this gives him an idea. He is going to find this town so he can learn the truth about his parents and wants Kris to come along. After being persuaded by Brit, Kris comes around and they pack up in search of their mom and dad. What they weren’t expecting was to learn that the town they are about to visit is also known for having an abundance of Bigfoot sightings. At first they laugh it all off but they quickly learn there may be some truth to the legends and somehow their real parents may have been involved. As they inch closer to the truth, tensions mount between Kris and Will but they will have to put it all aside when the beast rears its ugly head.

The creature doesn’t look very good and may have possibly been the reason why it’s almost never shown in detail. We get quick glimpses but a fantastic creature could have given this the boost it needed to be highly revered.

The important thing about FEED THE GODS is the fact it’s on the right track. It may have trouble hitting every mark necessary in order to succeed but the casting sure does help lessen the blow. Shawn Roberts, Tyler Johnston, and Emily Tennant will be more remembered than this film. I’m not trying to dissuade you from viewing it, I’m actually recommending it but don’t set your hopes too high. While we’re still waiting for a perfect Bigfoot film, this one will at least tie us over for a bit.

We all know any sort of problem could arise and stifle a moving from being the best it could be just as many horror films have had to cut the amount of time the creature is on screen because it didn’t quite turn out the way everyone had hoped, maybe it’s the case here (maybe not). Either way, there’s some good stuff to be found in the picture and director Croft is just refining his craft and will return with something bigger and better. (**1/2 out of 5)

Tags Bigfoot Braden Croft Britt Irvin Camping creature feature creatures Emily Tennant Feed the Gods Random Bench Productions Shawn Roberts The Woods Tyler Johnston

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10 Underrated Horror Movies on Netflix That Deserve To Be Seen

H orror enthusiasts often scour streaming platforms like Netflix for their next scare, but some gems get overlooked in the sea of options. Whether it’s due to mixed reviews or niche appeal, these movies deserve a second look. Here's a list of ten underrated horror films on Netflix that are worth your time.

This British horror film follows four friends who embark on a hiking trip in the Swedish wilderness to honor their recently deceased friend. What starts as a bonding experience quickly turns into a nightmare as they stumble upon an ancient evil lurking in the forest. The Ritual is a masterclass in atmospheric horror, blending folklore with modern psychological terror.

The Invitation

In this vampire thriller, Evie (Nathalie Emmanuel) discovers she has a long-lost cousin after taking a DNA test. Invited to a lavish wedding in the English countryside, she soon finds herself entangled in a sinister plot. The Invitation combines gothic horror with modern themes, creating a menacing and suspenseful narrative that keeps viewers hooked.

Creep is a found-footage thriller that showcases the disturbing interactions between a videographer and his enigmatic client. The film excels in creating an unsettling atmosphere, with Mark Duplass delivering a chilling performance that keeps you guessing until the very end. It’s a slow burn that ramps up to a terrifying conclusion.

Things Heard & Seen

This supernatural thriller follows a couple who moves into an old farmhouse, only to discover sinister secrets about their new home. Amanda Seyfried shines in her role, and the film combines elements of ghost stories with marital drama, creating a haunting narrative that explores themes of trust and betrayal.

Blood Red Sky

Vampires get a fresh twist in this German film that takes place aboard a hijacked plane. Nadja, a woman traveling with her son, is forced to reveal her dark secret to save the passengers. Despite some plot holes, Blood Red Sky offers a suspenseful and unique take on the vampire genre, making it a must-watch for fans of horror and thrillers alike.

Choose or Die

Blending 80s nostalgia with modern technology, Choose or Die follows two friends who discover a cursed video game that forces them to make deadly choices. While it received mixed reviews, the film’s inventive premise and suspenseful execution make it deserving of a second look. Asa Butterfield and Iola Evans deliver strong performances that keep viewers engaged.

Day of the Dead: Bloodline

Zombie aficionados should add this film to their queue. A reimagining of George A. Romero’s classic, Day of the Dead: Bloodline offers plenty of gore and intense action. While it might not have garnered widespread acclaim, it provides a solid entry into the zombie genre with enough thrills to satisfy fans of the undead.

Megan Fox stars in this gripping thriller as a woman handcuffed to her dead husband as part of a twisted revenge plot. Despite initial criticisms, Till Death delivers a tightly wound narrative filled with tension and unexpected twists. Fox’s performance adds depth to a story that keeps you on the edge of your seat from start to finish.

For those who find dolls creepy, Sabrina is a must-watch. This Indonesian horror film features a haunted doll that brings chaos and terror to a family. Combining elements of humor and supernatural horror, Sabrina offers a unique and entertaining experience that stands out in the crowded genre of haunted doll movies.

He Never Died

Starring Henry Rollins, this dark comedy horror film follows an immortal cannibal who tries to live a quiet life but is drawn back into violence. Rollins’ deadpan delivery and the film’s blend of horror and humor make He Never Died a compelling watch. It’s a fresh take on immortality and redemption with plenty of shocking moments.

These ten horror films may not have garnered widespread attention, but each offers something unique and terrifying. From supernatural thrills to psychological chills, these movies are perfect for horror fans looking to explore hidden gems on Netflix. So, dim the lights, grab some popcorn, and get ready to be scared by these underrated horror treasures.

The post 10 Underrated Horror Movies on Netflix That Deserve To Be Seen appeared first on New York Tech Media .

One of my favorite horror movies is leaving Netflix this month — and you need to experience it

You have to watch 'Insidious' even if you’re not a horror fan

Horror movies give you such a thrilling experience, and it’s something I’ll always enjoy, no matter how frightening or unsettling they might be. Of course, I understand that not everyone is comfortable with this genre because of its ability to invoke anxiety and fear, but the adrenaline boost is like nothing else. While action-packed dramas and psychological thrillers on Netflix might put you on edge, horror creates a completely unique environment that will consume you (in the best way). 

"Insidious" is one of those movies you’ll be thinking about for days, from the unsaturated shots to the screeching violins that transform the music in every scene. Even if you don’t like horror, this movie in particular is just worth the thrilling experience, and it might encourage you to dip your toes into the genre now and then.

Directed by James Wan, "Insidious" follows the Lambert family as they discover their new home holds something truly evil. Josh (Patrick Wilson) and Renai (Rose Byrne) must investigate why their son Dalton (Ty Simpkins) has mysteriously entered a comatose state one morning. The longer he remains in a coma, the more sinister their home becomes when ghosts in an astral plane start to seep through into the real world. 

Sadly, "Insidious" will be making its departure from Netflix on May 31. This means you have a limited amount of time to watch it, and I would recommend adding it to your list just for the unique but captivating experience. 

Experience this ghostly thrill ride

When I say haunted house thrill ride, don’t imagine a corny ghost train with a few jumpscares and plastic monsters as set pieces. No, "Insidious" is so much more than that, as it takes you on a sudden and eerie journey into the dark. Every twist and turn will leave you shocked. Believe me, when I watched it for the first time I truly expected it to be some generic haunted house narrative where the family would hire a priest and then eventually move out. It definitely didn’t turn out that way, which is why it became one of my favorite horror movies ever. 

The sound design alone was enough to keep my attention. Every sinister violin noise that lurked in the background amplified the scene instantly, sending you into a place of uncanny valley. And it’s safe to say that the music and sound effects are some of the best I’ve ever heard in the entertainment industry. 

This haunted house thrill ride wouldn’t be as effective as it is without the characters either. Wilson and Byrne do an incredible job of playing desperate parents who just want their son back. They play believable people who aren’t perfect, and amidst the chaos erupting in their house, they still argue and cry and plead with paranormal investigators because they’re so distressed. It’s like watching an actual family go through something real, which makes it that much more unsettling.

It’s not the house that’s haunted

One thing that stands out about "Insidious" is that it’s not your typical haunted house movie. The family doesn’t move in, notice weird occurrences, cleanse the house using some random ritual, and then continue with their lives like nothing happened. That’s an overused generic storyline some horror movies apparently follow for the sake of it, but “Insidious” brings something unique to the world of horror. 

Many critics on Rotten Tomatoes agree that “Insidious” isn’t your average horror movie. Jim Schembri from The Age said: "Director James Wan here proves himself very adept at building dramatic tension and making you anxious about the things going on in your peripheral vision."

"Insidious" does a brilliant job at making you tense up and sweat during the most unsettling moments, and Miami Herald’s Connie Ogle agreed by saying: "The film is stylish and quietly unsettling even in its derivativeness, and it delivers the sort of slow-building chills that ruffle the hair at the back of your neck."

Perri Nemiroff from Shockya said: "A little 'Nightmare on Elm Street,' part 'Exorcist' and a hint of 'Paranormal Activity.' Honors genre expectations while delivering a fresh and horrifyingly unpredictable experience."

Not everyone is going to agree, and "Insidious" being one of my favorite horror movies ever is simply my own opinion and personal preference on the genre. Roger Ebert from the Chicago Sun-Times said the movie is "not terrifically good, but moviegoers will get what they're expecting."

You should definitely give "Insidious" a go whether you like horror or not. The characters, sound design, grimy filters, and sinister background effects are enough to keep you on the edge of your seat. Don’t forget that "Insidious" leaves the streaming platform on May 31, so watch it on Netflix now. You can also check out the best upcoming horror movies you have to see on the big screen in 2024 .

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Alix is a Streaming Writer at Tom’s Guide, which basically means watching the best movies and TV shows and then writing about them. Previously, she worked as a freelance writer for Screen Rant and Bough Digital, both of which sparked her interest in the entertainment industry. When she’s not writing about the latest movies and TV shows, she’s either playing horror video games on her PC or working on her first novel.

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Wait, why were there so many movies at the tv upfronts this year , breaking news.

‘The Strangers: Chapter 1’ Review: Horror Tropes Gone Wrong In Renny Harlin’s Latest

By Valerie Complex

Valerie Complex

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The film opens with a man running frantically through the woods, beaten and bruised, pursued by masked figures wielding knives and axes. His eventual demise, though inevitable, is barely shown, denying the audience any real sense of horror. We then cut to a couple, Maya (Petsch) and Ryan (Gutierrez), on a road trip to Portland to celebrate their five-year anniversary. Lost and hungry, they veer off the main highway and stumble upon Venus, Oregon—a town that time forgot. The local diner, filled with suspicious characters, sets the stage for what is to come. As they leave, their car mysteriously refuses to start. Two men from the diner offer to fix it, claiming it will take a day, thus forcing the couple to spend the night in an unknown place.

Ryan suspects a scam, but Maya, eager to avoid confrontation, accepts their fate and they end up staying at a log cabin listed on Airbnb. In the middle of the woods, the cabin’s eerie isolation is immediately apparent. Strange knocks on the door by a cloaked figure asking for someone who isn’t there sets the tone for the night. When Ryan leaves to get food, Maya is left alone to face the escalating terror. The masked figures from the opening scene soon begin to torment the couple, and the primary question becomes whether these two will survive the night.

Harlin’s direction and the cinematography rely heavily on tight close-up shots of the actors a technique seemingly employed to obscure upcoming scares, but this method backfires, as the audience quickly learns to anticipate every predictable jump scare. The killings lack any sense of horror or intrigue, leaving viewers to endure a protracted wait for a climax that ultimately falls flat. At least Madelaine Petsch is fun to watch. She chews up every scene as if she’s on an episode of Riverdale. This is the result of a script that has very little to work with.

In order to capture the attention of a new generation of filmgoers, particularly in a theatrical release where tickets cost upwards $17 in some cites, a reboot must offer something compelling. The Strangers: Chapter 1 is a film that should not exist, as the original already achieved what was necessary to be entertaining and memorable. This chapter marks the beginning of a series that isn’t destined to go far, but it will be a reminder that not all stories need to be retold, rebooted, or reimagined.

Maya and Ryan are written as painfully unaware and unprepared individuals, lacking any sense of self-preservation. They are archetypal horror characters who make nonsensical choices purely to drive the plot. This lack of character development results in a narrative devoid of creativity or originality. While elevated horror is not a necessity, a modicum of ingenuity is. Horror tropes can be effective and entertaining if utilized properly, but The Strangers: Chapter 1 fails spectacularly in this regard.

Title:  The Strangers: Chapter 1 Distributor:  Lionsgate Release date:  May 17, 2024 Director : Renny Harlin Screenwriter:  Alan R. Cohen and Alan Freedland Cast:  Madelaine Petsch, Froy Gutierrez Rating:  R Running time:  1 hr 31 min

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Shocking Horror Movie ‘The Coffee Table’ Is Earning Raves From Stephen King. Its Director Wants Audiences to ‘Suffer’ and ‘Hate Me’

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The poster for the innocuously named “ The Coffee Table ” notes that it is “A Cruel Caye Casas Film.” The unique designation is certainly fitting, given the storm of controversy it’s stirring up among horror fans. The comically vague logline for the Spanish film —  new parents buy a coffee table that will change their lives forever — hides a shocking incident that happens early on. Said incident is not for the faint of heart, and director and co-writer Casas is eager to not only lean into the controversy but take willing audiences on an emotional journey of horror without monsters or the supernatural. Without spoiling the central incident, Casas explained his film to Variety , including how much he wanted to push audiences, the unique title and how he reacted when Stephen King recommended his work. (Note: This interview was conducted over email for accuracy between the Spanish and Catalan-speaking Casas and the English-speaking author.) How did the idea for this film come about?

Popular on Variety

Who do you think the audience for this movie is? Are there some people who wouldn’t be able to handle it?

I have always thought that the film is aimed at audiences who want strong, extreme, unforgettable emotions. The horror audience is like that. I am a member of the horror audience and my great hope is to make them suffer, have a terrible time, hate me, but above all make them feel strong emotions. Now many productions are made with a lot of money that don’t make you feel anything, which is always the same, that you forget about them two days after seeing them. I think that “The Coffee Table” makes anyone who sees it feel an unforgettable experience, whether they like it or not. In fact, it is not for everyone, there are people who will not tolerate it, and I understand that.

What have audience reactions been like so far? Have you seen walkouts?

People’s response has been fucking incredible. I have gone to many festivals with the film, to many countries, and people always react by being shocked, they can’t believe what they see. Some leave the room, they can’t stand it, but there is also laughter about it. Black humor, the most macabre laugh, others feel guilty for laughing, but the majority have a very bad time, tension, anxiety. It is very fun to see the faces of the audience. In Mexico, they insulted me while watching the film. It was a joke, but they insulted me for torturing them — although, later, that same audience gave me the audience award at the Macabre Festival.

As a filmmaker, were you trying to show empathy for any of the characters, or just portray the events neutrally?

All the characters have something personal, they have something of mine, all of them. With these characters, I wanted to convey how any of our lives can change in a second, we can experience real hell and we don’t need monsters or zombies or anything to live in hell. Let everyone judge the characters as they want, I don’t, they came from my head and there is no one that is my favorite. What is important is that only the protagonist and the audience know what has happened, and that makes the tension unbearable, it makes the audience suffer as much as the protagonist, and that is what works like a time bomb.

How did you decide how much of the key incident in the movie you wanted to show onscreen?

I was clear that I did not want to make a gore film, and I was clear that imagination is an important weapon that the public has. Why show certain things when in your thinking it could be worse? You have to make the viewer’s mind work, sometimes less is more, and imagining what is happening is sometimes stronger than seeing it. It was very clear that some scenes were going to be shot out of frame, so that they could be seen as little as possible, the audience already knows that what happened is horrible.

There is lighthearted music playing during some dark moments. What was the inspiration behind that juxtaposition?

To be contradictory. When a great tragedy happens, sometimes it is better not to play the typical scary music and instead play a children’s song, as in this case. It is more disturbing, and with the composer of the OST, Bambikina, we were clear that we did not want to make the typical horror movie soundtrack, because this is not the typical horror movie. It’s different from everything, and the soundtrack had to be too.

Did you always have the ending in mind while writing the film?

What was the inspiration behind naming the film, simply, “The Coffee Table”?

All horror movies have powerful, dark, scary names. I wanted to make a terrifying film but with a harmless, ridiculous, everyday name… “The Coffee Table,” and in Spanish, “La Mesita Del Comedor.” Seriously, is a movie like that, that disturbing? The answer is yes. I also wanted to trick the viewer, I’m going to watch this movie with this silly name, and wham! They are left speechless. Besides, it is clear that the coffee table is the main protagonist of the film… don’t you think?

Do you want to focus on more horror movies and dark dramas in the future?

I have several projects for which I am looking for money. I have a very terrifying, unbearable, brutal but also philosophical one that would make horror audiences’ heads explode. It is titled “Dreams” and it is brutal. I have others that are incredible black comedies, so that people have a good time laughing at death, like a movie called “Bad Death.” Another cruel and macabre horror titled “Welcome,” another about a really disturbing television show titled “Luciferio.” But I also have films that are not 100% genre, like “Nothing Co” (which is one of my favorite stories) or “Mom’s Wish,” which is an original and different comedy. I like almost all genres, but I have a great time writing horror. Now the important thing is to find financing so that they exist and the public has fun… Is there anyone interested?

Stephen King tweeted that he loved the movie. What does it mean to have a horror master praise your work?

There is only one King of Terror, and that is Stephen King. What more can I say? That the King recommends your film to his audience, that he says that it is the darkest thing he has ever seen… It’s so exciting, it’s one of those things that I will explain to my grandchildren (although I don’t have children). It’s one of those things that you think will never happen and it does. The King has recommended an independent Spanish film shot in 10 days at a friend’s house and with a ridiculous budget. And not only the King has done it, but also teachers like [director] Mick Garris, who was the one who sent the film to Stephen King because he loved it. It’s an orgasm. I won’t tell you that I masturbated watching the King’s tweet talking about my movie (did I?), but I will die with a smile on my face just thinking about it.

“The Coffee Table” is now available on VOD. Watch the trailer below.

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Cannes must-see films: david rooney shares what not to miss.

New films from Francis Ford Coppola, Yorgos Lanthimos and George Miller are seizing the festival spotlight, but THR's chief film critic says there’s plenty more in the lineup to whet the cinematic appetite.

By David Rooney

David Rooney

Chief Film Critic

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The 77th Cannes Film Festival is poised to serve up a feast for film lovers, including new movies from celebrated directors such as Yorgos Lanthimos and Paolo Sorrentino, as well as living legends like Francis Ford Coppola, David Cronenberg and George Miller.

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Inside the dior beauty suite at cannes where the celebrity a-list goes for gala glam, 'megalopolis' first reactions: "fevered thoughts of a precocious child".

Meanwhile, Coppola will unveil the highly anticipated  Megalopolis , starring Adam Driver, Shia LaBeouf, and Aubrey Plaza, in the competition lineup, while Canada’s Cronenberg returns with The Shrouds , a horror thriller with Vincent Cassel, Diane Kruger and Guy Pearce.

And among the Hollywood highlights at Cannes this year is Miller’s  Max Max :  Fury Road   prequel  Furiosa , starring Anya Taylor-Joy, which is screening out of competition.

But there is plenty more in the Cannes 2024 lineup to excite film buffs. Here is a look at some of the must-see titles at the festival.

Sean Baker made a splash in the Directors Fortnight in 2017 with The Florida Project before graduating to the main Cannes competition four years later with Red Rocket . He’s a Palme d’Or contender again with this comedy about a young Brooklyn sex worker, played by Mikey Madison, who impulsively marries an oligarch’s son and finds her Cinderella story in trouble once the news gets back to Russia.

The Apprentice

Iranian-Danish  Holy Spider  director Ali Abbasi, demonstrated his skills working in English on two killer episodes of  The Last of Us . He takes the next step with what promises to be a juicy probe into the Faustian pact that fueled an American dynasty. It stars Sebastian Stan as Donald Trump, Jeremy Strong as infamous lawyer and political fixer Roy Cohn, Maria Bakalova as Trump’s first wife, Ivana, and Martin Donovan as his father, Fred Trump, the real estate developer known for his discriminatory rental policies.

Caught by the Tides

Jia Zhangke’s sixth Cannes competition entry surveys China’s 21st-century transformation via the fragile love story of a couple spanning two decades, reportedly mixing dramatic realism with documentary techniques. Once again starring Jia’s wife and brilliant muse, Zhao Tao — most recently seen in a memorable turn as a gangster’s tough girlfriend in 2018’s Ash Is Purest White — the new feature, which started shooting in 2001, traverses not only time and space but also Jia’s entire filmography.

Emilia Perez

Jacques Audiard, director of  A Prophet ,  Rust and Bone  and Palme d’Or winner  Dheepan ,   ventured into English-language features in 2018 with the Jake Gyllenhaal Western,  The Sisters Brothers . He continues his international reach with this Mexico-set musical crime comedy starring Selena Gomez, Zoe Saldaña and Édgar Ramírez, about a woman helping an escaped cartel leader undergo gender-affirming surgery, in part to evade the authorities. Originally conceived as a four-act opera, the film features original songs by French chansonnière Camille.

Furiosa: A Mad Max Saga

Kinds of kindness.

In her third collaboration with always-original Greek maverick Yorgos Lanthimos , following  The Favourite  and  Poor Things , Emma Stone stars with Jesse Plemons, Willem Dafoe, Hong Chau and Margaret Qualley in this triptych spinning stories of a man seeking to take control of his life, a policeman whose missing wife seems a different person upon her return and a woman on a quest to find someone destined to become a great spiritual leader.

Megalopolis

Much ink has been spent on Francis Ford Coppola ‘s $120 million production, the eminent director’s first feature in 13 years. Adam Driver, Giancarlo Esposito, Aubrey Plaza and Shia LaBeouf are among the stars of what’s described as a Roman epic fable set in modern-day America, in which idealistically opposed leaders fight for the future of a divided city, and perhaps for humanity itself. The Cannes competition premiere will reveal whether Coppola’s self-funded project — and the massive marketing push he has envisioned for it — is a work of genius or folly.

Motel Destino

The substance.

French writer-director Coralie Fargeat debuted in 2017 with the grindhouse rape payback thriller Revenge , a subversive feminist response to I Spit on Your Grave , drenched in grisly carnage. Her second feature assembles a higher-profile cast — Demi Moore, Margaret Qualley and Dennis Quaid — in an explosive dose of body horror that seems to promise more blood and guts.

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‘everybody loves touda’ review: a young mother chooses herself in nabil ayouch’s absorbing drama, cannes: yorgos lanthimos-emma stone reunion ‘kinds of kindness’ premieres to 4-minute standing ovation, ‘kingdom of the planet of the apes’ star kevin durand talks proximus caesar’s future and not viewing him as the bad ape, ‘three kilometers to the end of the world’ review: an overly tidy romanian drama about a homophobic hate crime, “this is the glen powell decade”: actor receives glowing praise from tom cruise, adria arjona, ‘kinds of kindness’ review: emma stone and jesse plemons headline yorgos lanthimos’ insidious and intriguing studies in love and control.

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The Strangers: Chapter 1 review – unnecessary horror retread

The grimly effective 2008 home invasion shocker gets a strange semi-remake that sucks out all of the suspense

I n a genre in which innovation is increasingly resigned to the furthest outskirts, there’s something almost admirable about just how staggeringly redundant The Strangers: Chapter 1 is, early contender for 2024’s most pointless horror movie. It’s the third in a series that should have stopped after one, a reboot that’s more of a remake but sold as a prequel while also acting as the start of a new trilogy, an over-complicated attempt to squeeze new life out of old IP. The 2008 original, which starred Liv Tyler and Scott Speedman as a couple menaced by three masked invaders, was a short, sharp shock to the system, a bare-bones exercise in drip-drip suspense made scarier by its cold, motivation-less villains (“Because you were home”).

There was a stark, naturalistic nastiness to it, closer to Michael Haneke’s Funny Games than most of the silly genre dreck being churned out at the time and so while the film was a commercial win for Universal, it didn’t lend itself to easy extension. A troubled decade of false starts finally led to 2018’s sleekly made yet maddeningly scare-free sequel Prey at Night and now six years later, with rights moving over to Lionsgate, we have a new trilogy, ambitious in concept if nothing else. The three films are all set to be released within a year, an expansion of a world that worked best on the simplest of terms, a perfect example of unnecessary bloat at a time when we’re surrounded by it. It’s the era of 10-hour TV seasons that could be 100-minute movies and prequels to stories answering questions we never cared to ask and with yet more to come from the worlds of Harry Potter , Twilight and Lord of the Rings , why not stretch a tight 85-minute shocker into a multi-film franchise?

The obvious answer is in the question and nothing in the first chapter offers any justification for why we’re here or why we should be expected to show up two more times over the next 12 months. While the original, written and directed by Bryan Bertino, had the unsettling grit of gloomy reality, filmed on location in rural South Carolina, the remix has an uncanny and off-putting artificiality, Slovakia standing in for Oregon yet the whole thing feeling more like it was shot on a soundstage or at the themed Strangersland at Lionsgate World. It’s like watching the original remade as a video game, a similar feeling had earlier this year with the equally inessential Mean Girls redo , both acting most efficiently as bleak signs of the time we’re in.

The plot has been mostly kept the same with just a few tweaks, this time it’s a younger couple heading on a road trip to Portland who are forced to spend the night after car troubles. They find an Airbnb, or an “internet house” as the yellow of teeth locals call it, and bad decision after bad decision leaves them at the mercy of some familiar looking ghouls.

The director, Renny Harlin, is a competent and experienced hand, so there’s a sturdy workmanlike quality here but, more typically associated with bombastic action movies, he just doesn’t have the patience required to build real, clammy suspense or the awareness of the smaller specificities that are needed to immerse us in an intimate story such as this. There’s no dread or tension, a remarkably easygoing time for a reboot of something that went so very hard (Bertino’s grim 2020 farmhouse horror The Dark and the Wicked showed us he can go even harder). It’s Kidz Bop Strangers for sleepovers where no one will have any trouble sleeping after (despite an R rating), a tone also reflected by the actors playing the victims, Riverdale’s Madelaine Petsch and Teen Wolf’s Froy Gutierrez, both adequate in a synthetic CW kinda way but we never get the howl of terror that Tyler gave us in the original. Without any new twist or surprise to the original story, we’re then left with a limp retrace.

If the original was a way of showing just how much could be done with very little, this is what happens when that very little is all we’re given, dumped on a plate and carelessly thrown our way, slop without garnish. There’s something almost contemptuous about it all, a “this will do, right?” shrug of a thing that audiences should instantly reject with a loud “no, it won’t”.

The Strangers: Chapter 1 is out in US and UK cinemas on 17 May

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