Butcher Block is a weekly series celebrating horror’s most extreme films and the minds behind them. Dedicated to graphic gore and splatter, each week will explore the dark, the disturbed, and the depraved in horror, and the blood and guts involved. For the films that use special effects of gore as an art form, and the fans that revel in the carnage, this series is for you.
“Listen to me. A storm of hell’s coming down on this place any second. I don’t know what they are, I don’t know where they came from. All I do know is that these fuckers are fast, nasty, and hungry, and there’s four of ’em. They got claws like Ginsu knives and more teeth than a chainsaw.”
This is how Hero (Eric Dane) introduces both himself and the deadly creatures that descend upon the bar in Feast. Promptly before one of them decapitates him, his blood gushing forth and covering Honey Pie (Jenny Wade) head to toe. The bloodletting, carnage, and revolting body fluid spillage never lets up from there in this gory creature feature.
Feast is the result of season three of Project Greenlight, Matt Damon and Ben Affleck‘s movie-making reality series that aired on HBO. Its third season opened with Damon and the Greenlight team seeking out and hiring Wes Craven to produce a horror film. Of the scripts and teams they had to choose from, they selected director John Gulager and the script by Patrick Melton & Marcus Dunstan, Feast. The nine-episode season chronicled the film’s production, from pre-production to its first test screenings. When it came time to the actual release, though, Feast deserved much better than the extremely limited release it received.
Granted, this particular horror movie isn’t the type that typically appeals to the masses or mainstream critics; it’s lean, mean, and saturated in viscera. The script cleverly bypasses lengthy character introductions by using humorous character cards to let the viewer know each player’s name, role, and survival odds. Then it wastes no time subverting those odds. The Hero? Dispatched first. The Vet, trained for combat and survival? Gone second. An adorable and innocent child? Feast smashes that taboo to smithereens posthaste. At the other end of the spectrum exists the characters that tend to die first in horror, characters like Bartender (the director’s father and notable horror vet Clu Gulager). They outlast.
From the outset, Feast presents an “anything goes” crass and raunchy attitude that doesn’t take itself too seriously. Except when it comes to the gore. For both the excess gore and creature effects, producers immediately sought out special makeup and creature effects designer Gary J. Tunnicliffe. His credits include Piranha 3DD, Scream 4, The Collector, Hellraiser: Bloodline, Halloween: Resurrection, Ginger Snaps, and many, many more. Meaning, you don’t have to look far to notice his expertise in creature design and bloodbaths.
Tunnicliffe’s creature designs were twofold; the skulls and hides that gave a slight insight into the monsters’ age and habitation, and their real faces underneath. Makeup effects artist Michael J. Regan played Papa Beast, while Tunnicliffe portrayed Mama Beast. Puppetry rounded out the rest of the creature effects, namely the baby monster.
The most significant component of the makeup effects for the film was the fake blood. Gallons upon gallons of it. Slime, maggots, and more. Judah Friedlander’s Beer Guy gets vomited on, coated in viscous green goo, pus and worms, and bloodied to a mushy pulp. No character, human or otherwise, has a gentle demise in this creature feature.
Feast delivers a campy creature feature with its tongue firmly in cheek, but with a breakneck speed and emphasis on practical effects and action. It’s a simple and straightforward story that doesn’t reinvent the wheel or do anything new, but it does offer up plenty of goofy fun and a few stomach-churning moments.
Source link : http://feedproxy.google.com/~r/BloodyDisgusting/~3/rP6tZdoytb0/
Author : Meagan Navarro
Publish date : 2020-01-14 21:00:46