The Earth is Healing with EVIL Intentions. “The Feast” reviewed (IFC Midnight / Digital Screener)

Glenda is frantically planning a dinner party for seven people at her newly constructed, modern rural home in the Welsh countryside. In order to quickly prepare, Glenda hires a young waitress, Cadi, from the local pub-restaurant as a pair of extra hands, but becomes intertwined with Glenda’s eccentric and dysfunctional family and friends who are drug addicts, sexual deviants, narcissists, and greedily apathetic in respecting local Welsh traditions and lands. However, Cadi keeps her own secret, one that’ll will transform the joyous dinner party into a night of deadly retribution for all their sins upon Earth.

For a language once on the brink of extinction and only spoken by less than a million people, probably even more less than that estimate, director Lee Haven Jones’ debut feature film, “The Feast,” reintroduces the language to many of us with revitalizing the Celtic-tradition Welsh tongue by implementing it as the entire dialect for his introductory from the United Kingdom. Jones’ eco-horror clashes archaic Welsh lore and traditions with the newfangled inattentive and neglectful modernism from a script by Roger Williams, a frequent collaborator with Jones on previous credits such as the split-heritage documentary “Galesa” and the short-lived drama series drama series, “Tir,” about foreign invaders intrusively adding financial hardships Welsh landowners. Also known as “Gwledd” on script in Wales, “The Feast” is executively produced by Jones and Williams as well as Gwenllian Gravelle, and Paul Higgins under an amass of production companies in the British Film Institute (with funds stemming from the national lottery), Ffilm Cymru Wales, S4C, Fields Park and, in association with, Great Point Media and Melville Media Limited.

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A dinner party fit for the scum of society comes to mind as Jones rounds the horn introducing Glenda’s passively confrontational family whom all are on display for having vices unsuitable for polite society. Beginning with her sons, two brothers shamed by their parents into hiding from out of the public eye by whisking them away to their rural abode, are portrayed by actors Steffan Cennydd as the drug addicted and party loafer Guto and Sion Alun Davies as the an intelligent and sterile sociopath with a sordid past involving accusing women. There’s also her husband Gwyn (Julian Lewis Jones, “Elfie Hopkins: Cannibal Hunter”) with a sleazy demeanor and an quenchable thirst for money. The family friend Euros (Rhodri Meilir) lives and breathes squeezing every ouch of worth from the dollar signs he envisions plastered on everything to the point that his pigheadedness will eventually get the better of him. Lastly, there is Glenda (Nia Roberts) herself who is a pursuer of the finer, material things eager to display them proudly no matter the cost of bloodshed. Roger Williams’ characters are written absolutely lush with cancerous class and a vague sense of their surroundings as they stew proudly being one boldly intense personality to the next; however, they become becomes cleaved by the house party help, Cadi, with a shark-circling simplicity by Annes Elwy. Elwy barely has any dialogue as she submerses Cadi, quietly like a submarine silently churning the waters, into the family’s eclectic affairs and studying their every movement with a naïve gaze, but there is nothing naïve about Cadi’s uncomfortable silence that becomes heedlessly unnoticed by, no surprise here, the group of narcissists. “The Feast” rounds out the cast with Lisa Palfrey, the only rational head with surprising little screen time after briefly unveiling a shocking revelation about just exactly who Glenda let in her home.

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2021 has been the year for under-the-radar, but oh so good, eco-horror.  Among the ranks following this years Ben Wheatley’s “In the Earth” and Jaco Bouwer’s “Gaia” comes the all-things-Welsh cautionary outlier that when pushed too far, when disturbed too much, and when reeking virally infused putrid, a vindictive reaper will come calling.  In this case, that harbinger of death takes the form of a landbound spirit rooted in lore with an insidiously coy wolf in sheep’s clothing mounting a strike with subtle, rancorous fangs by smothering them with their own debaucheries and vices.  “The Feast” will take a couple of viewings to fully digest the complete airy extent of Jones’ lax editing, under the cut and paste thumb of Kevin Jones, that can infrequently blur character timelines and presence in the story, as if plot points were forced into an unsure elucidation to connect the dots.  With a simmering horror on a spoke of unsettling imagery, the editing should have slightly been more binding to tighten gray areas; instead, “The Feast” has an abstract quality third act that not only chops up scenes, but also chops up bodies influentially consumed by the already self-destructing aspects. Some time must pass, a few days maybe, to let “The Feast” penetrate an understanding as it’s one of those flicks, wrapped loosely in cultural folklore or maybe told with the assumption non-Welsh viewers will grasp, the more thought about or written about, the more appreciation the film will disclose way after the credits roll.

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Funny how gravitating cultural folklore and nature grow an impeccable theme of doom as if shaping mythologies and a life-growing ecosystem equate to nothing more than a foreboding sense that one day mankind will become extinct at their own hand. “The Feast” portions a slice of that ominous pie, topped with Welsh lore and gore, coming to North America theaters and digital on-demand this November 19th, just in time for America’s feasting activities of Thanksgiving. The 93 minute, unrated film will be distributed by IFC Midnight, the sister label to IFC Films, owned and operated by AMC Networks Inc. Bjørn Ståle Bratberg serves as cinematographer who options to start with the fresh-air, blue-sky landscape of the Welsh countryside than slowly guide us, step-by-step into the character delinking from the natural, beautiful world into a more menacing night of harsh darkness and fervent flame to reveal true identities. Bratberg’s dim lighting seemingly imprisons the sordid family in the new and modern home that’s like a prison with a gray brick interior and has a room of relaxation for Glenda that is noted by a guest in resembling a prison cell. The message of revenge resounded loud and clear; “The Feast” lays down coruscating repercussions in reaping the land for one’s own benefit and Lee Haven Jones’ wayward timebomb evokes an upsetting fear and tension for a dinner party finale that is surely to go way-wrong in this different kind of revenge thriller.

Censorship is the Very Definition of EVIL! “Censor” reviewed! (Magnet Releasing / Digital Screener)



British film censor, Enid, views video nasty after video nasty day in and day out, certifying ratings based on the realism of the violence, and receiving public hellfire when a gruesome murder is vilifies her approval of a film.  After viewing one in particular that strikes a familiar nerve, one involving around the circumstances of her little sister’s disappearance from years ago, she digs deeper into the filmmaker’s background, piecing together a puzzle that her sister may still be alive.  With her parents given up hope declaring their youngest deceased and under mounds of criticism pressure from inside and outside of work, Enid’s lone rove through distasteful filmic horror and probing the crew involved sends the censor into a frantic frenzy between what’s real and what’s not. 

For the record, just so we’re clear between you and I, film censoring is a complete crock that limits artist expression and can negatively alter the tone of work far from the original message or effect.  I can see where censorship is necessary for the greater good when considering public television that aims to evade young eyes from extreme violence, gore, nudity, and harsh language while still appeasing adults with a semi-intelligible cut of the film, but to have the MPAA, or any censor board for that matter, do what they do in order to classify and certify a rating to meet a criteria is a slap in the face of personal responsibility.  Yes, some individuals need a rigorous structure to tell them what to do, but you know comical and asinine when there are three different cuts of a film in the U.S. market, not to forget to mention all the various versions around the globe to sate countries distinct regulations and requirements.  Luckily, Prano Bailey-Bond’s immersive reality checking horror, “Censor,” makes no assumptions on the matter and we can just enjoy the dark side of story based off the UK filmmaker’s 2015 short entitled “Nasty.”  The story, set in the 1980’s at the height of violent and gory VHS movies known as video nasties, is co-written by fellow “Nasty” writer Anthony Fletcher and is produced by the London based, female operated and story-driven Silver Salt Films as the company’s first feature credit and is financially supported by the Film4, Ffilm Cymru Wales, and BFI.

If not for Irish actress Niamh Algar in an virtuous cyclone encompassing lead of Enid, a stern censor agent, the dismal atmospherics whirling around Enid’s processing of possible new evidence in her sister’s vanishing wouldn’t be as timorously potent.  The “From the Dark” and “Raised by Wolves” actress embodies a strong stoic stance of not only a censor with a target on her back every time the public blames her for ill-fated news involving the extreme films she approves, but also as a woman in the workplace who is subjected to subtle objectifying by male coworkers, in which some are more privately outspoken than others, and male film producers with a diminutive eyesight of her professional demeanor by making unwanted advances in lieu offering their support to make their films depicting rape and murder of usually female victims more approachable and marketable to the censor board.  Algar perfectly poises Enid in her ticks, the abrasive fidgeting of her nails against each other or the slight rolling back of her shoulders that makes an awful, unnatural cracking sound, sharpen Enid’s complexion.  Even Enid’s hard gulping is felt in unison of the tension of a woman on a verge of sudden collapse.  Clearly the film’s one and only frontrunner as we dine off Enid’s sole perspective, Algar runs off with “Censor’s” gloomy tone by her performance of unwavering convictions blended with throbbing agitation in her character’s repressed explosion trajectory.  Supporting players do their part living in Enid’s unique vision with Sophia La Porta, Adrian Schiller, Clare Homan (“Afraid of the Dark”), Andrew Havill, Guillaume Delaunay (“Victor Frankenstein”), Richard Glover, Clare Perkins, Danny Lee Wyner, Vince Franklin, Nicholas Burns, and Michael Smiley (“The Nun”) as a topnotch sleazy extreme film producer rounding out the cast.

Performances all around are stellar and the idea is sound as I can see a video nasty censor of the 1980’s fall victim to the job because of an unclear and checkered past, but problems with pacing jet Enid from composed posture to immediate wreck in a blink of an eye without much of a fundamental development for unravelling being greatly depicted other than the jarring movie that sends her spiraling for answers.  This doesn’t hurt “Censor’s” main theme of the inconclusions of what really drives the murderous animalistic qualities in all of us regarding nature versus nurture.  The longstanding idea that video nasties promote influential violence and sordid behaviors has been the talk of controversy for decades and science, at least none of that I’ve read, hasn’t 100% proven that extreme films dictates the mind’s will other than those impressionable in the sponge-like children.  Bailey-Bond decides not take a stance in declaring a clear cut opinion, merging both assumptions together in a mesh of madness still leaving the theorists spinning their notions and evangelical nuts spewing their anti-liberal arts sermons.  What really sells “Censor” for me personally is the tell all climatic finale of Enid’s disturbing outcome in a warped contraview, flipping back and forth through the static of the back button during the times of higher numeral, unsubscribed pay-per-view channels where glimpses of picture pop into the frame for a split second.

“Censor” is nowhere near what’s consider a video nasty, but the Prano Bailey-Bond psychological thriller still has the grip of an inexorable depth for what’s to come, for violence, far from hitting the cutting room floor as the film heads to theaters June 11th and on demand one week later June 18th from Magnet Releasing. Shot in two aspect ratios, more so in a widescreen 2.39:1 aspect ratio than in the pillarbox 1:33:1 to reflect the video nasty format in the time period, Bailey-Bond and director of photography, Annika Summerson, continue to stay as true as possible to the Golden Age of 80’s horror by shooting in 35mm in a handful of various style to blend Enid’s reality with the fiction of lurid dreams and the daily grind of workplace hazards (which, to me, watching horror movies all day long sounds like a dream job! The censoring part, no so much). Runtime clocks in at 84 minutes with no wiggle room for bonus scenes during or after the credits. The Brits have always had a hell of a go with film censorship, weaponizing and vilifying for political gain, as films become the lamb for the slaughter for public outcry against social-economical woes, even arts bedeviled by the harsh censors of it’s own country, and “Censor” aims to be the carrier wave of that historical downspout of misguided judgement while also shredded the thin moral fabric of one woman’s reality into tiny bits of off the rocker guilt.

Evil Knievel Eat Your Heart Out! “Psychomania” review!

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A terrorizing motorcycle gang named The Living Dead wreak mischief and murderous havoc amongst the local residents. When Tom, the gang’s leader, learns of his family’s dark agreement with the devil, he seeks to reap the benefits of the agreement’s eternal life bestowed upon his family, but before claiming a long-life of unstoppable hog-wild carnage, Tom must die first and truly believe he’ll return from the afterlife. Convincing the rest of the gang to kill themselves in order to return from the grave and live forever was easy, except his girlfriend Abby who wants to actually be alive. As the torment rips through Abby involving the man she loves, not all satanic bound agreements can last forever and Tom, Abby, and the rest of the gang are caught in a contract that’s all but binding.
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“Psyhomania,” also known as “The Death Wheelers,” is a stunt-heavy horror film from “Kiss the Vampire” and “The Face of Fu Manchu” director Don Sharp and written by “Horror Express’” Julian Zimet and Arnaud d’Usseau. “Psychomania” is a fun, b-horror feature from the swinging London era of the 1970s and rosters a young cast of some seriously talented actors in Nicky Henson as Tom, Mary Larkin as Abby, and Ann Michelle as Jane Pettibone while also being graced with two veterans, George Sanders, who voiced Shere Khan in “The Jungle Book,” and Beryl Reid from “Dr. Phibes Rises Again,” and were most likely the most expensive actors on set, being well worth the cash to balance out a relative unknown cast at the time.
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Yes, this film is British. Yes, this film is horror. But, no, “Pyschomania” is not a Hammer Horror film. The Don Sharp film lightly tip-toes through being a horror film with only the supernatural element placing the feature in the thriller category, but the PG-rated horror has other admirable qualities that certainly differentiates itself from the blood-heavy, frighten laden Hammer films. For instance, a story about an undead motorcycle gang should obviously entail motorcycle stunts and “Psychomania” delivers with surprisingly various top-notch stunts with, and without, motorcycles, involving dedicated stunt men and women challenged to be engaged in nearly all stunts, and whereas the blood does not run thick and heavy like with many fright flicks, the bikes certainly do and revs a different, yet welcomed, change of pace.
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If the intent here was to make a serious film, the mark was missed by a good margin. Outdated and obsolete, “Psychomania” is the epitome of aging with dated hairstyles, dated clothing, and dated dialogue. If the intent was to be campy, Sharp and his team of willing participants hit the center of the bulls eye. The premise of a motorcycle gang committing themselves to a suicide pact only to come back and continue their barrage amongst humane society while choking out nearly everybody they feel tramples upon their aimless and ferocious cause seems like an outright folly. Who knew that in forty years time that “Psychomania” would be a British cult favorite, sparking a well-deserved upgrade Blu-ray and DVD combo release from the British Film Institute, also known by as the BFI.
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BFI Flipside presents “Psychomania” on a Blu-ray and DVD combo presented in the original aspect ratio 1.66:1 and scanned and restored in 2k from preservation negatives. The 1080p Hi-Def Blu-ray runs on a BD50 gigabyte at 24 frames per second with a PCM mono audio mix. The PAL DVD runs about the same, near 25fps, and sports a Dolby Digital 1.0 mono audio mix. I was presented the DVD version for review and I must say the original print looks immaculate. The lens flares in the corner from previous releases have been extinguished. The colors and skin tones have never been more vibrant through the three layers of the black and white master copies containing yellow, blue, and cyan. The mono mix clearly states a purpose and goes through the ears without muddling and much defect. The BFI have also spared no expense on the bonus features that include various interviews with Nicky Henson and other cast, an interview with Harvey Andrews on the “Riding Free” single, a Hell for Leather documentary about the company who supplied the leather for the cast, a short remastering “Psychomania” segment, and other various extras that dive into British culture. I was a bit disappointed with the Sound of “Psychomania” segment as the track portion in the interview with film composer John Cameron seems to be overlaid by something totally off-the-wall and we’re unable to get the full 9 minute audio from the interview. The bonus material rounds out with original theatrical trailer and a nice, vividly colored illustrated booklet with new writing by Vic Pratt, William Folwer, and Andrew Roberts. BFI’s “Psyhomania” release is one of the best re-releases to hit the region 2 market and will re-hit the youth once again on it’s climbing cult success that branches off far from the bloodlust of 1970’s British horror.