Campy, racy, racist, gory, B-grade (the way this nubain-eater likes it) and funny for a good part of the film, which explodes in bold colors; imported from Hong Kong and the ravishing and sexually deprived (for one whole day, goodness) Alyson Bath as Yuki who is imported from Vancouver. At twenty-two, there’s no stopping her or Sasha Grey (The Girlfriend Experience, 2009).
Evil Feed has a ‘what the fuck is going on?‘ editing going for it at the start, which makes the narrative shift in places. Who cares when the rest of the crazy film kicks ass before it goes the Big Trouble in Little China, 1986 way, without Kurt Russell, losing its own distinct flavor where the cast is made up of stunt performers, and it plays like a demo reel, but it still manages to surprise with its over-the-top action scenes and the absurdly exaggerated, and effeminate mincing;
Clueless guy in cage through CCTV: “Hey, some kinda fight club? First rooooool…”
It is when the funny bad guy Terry Chen (Godzilla, 2014) becomes a truly menacing James Hong (Blade Runner, 1982) that the film starts to get serious, and serious doesn’t do shit for films where the human body carries more blood and intestines than an elephant. And everyone knows once you become David Lo Pan or Doctor Hung, there’s no turning back. Especially when the blood looks this real and the gore is solid and with those drugged up colors, Evil Feed has filmmakers, Deidre Leclair and Skye Markham, who have created some brilliant, nasty, disgusting effects for our viewing pleasure with Danny Newton (SFX for Smallville), the effects coordinator.
However, the lighting is such that fight scenes are lost to the dark and the viewers have to drawback for being let in on the action. That could be a technical error since after the first few instances the colors become vibrant and the whole shithouse is lit up like the Guy Fawkes effigy (the Gunpowder Plot, an attempt to blow up the House of Lords in London that was thwarted on 5 November 1605). Something like V for Vendetta, without the
With paper-thin plot, pacing that is quick and easy-to-follow and pace and wit to match. Evil Feed is like much like the Category III films from Hong Kong, The Untold Story, 1993 and The Ebola Syndrome, 1996, both gore abound ventures are directed by Cantonese B-grade, grindhouse veteran, Herman Yau. It sure looks like director Kimani Ray Smith (Suffer 2011) is just more than inspired by the works of Yau. And we have the excess of fight scenes, kooky acting, dialogue, and plenty of crazy gore to prove just that. It could have been anyone, nonetheless, with the restaurant in the mix, it just has to be Herman Yau and the two extrafilmic attempts noted above.
Evil Feed also reminds the keen viewer of those action films from the Eighties where the American good guy gets caught in an international ring of sex-trade and the syndicate is run by a very evil Muraji, The Warlord for hire, to go to when a film like Feed happens. Not good.
I liked the film, it’s fun and then there are guys getting beaten to a pulp while topless dancers hang upside down on poles, in pig masks. Alright, it’s also a little weird; ‘Dick Roll‘ and ‘Nippletartare‘ are not funny but serve (no pun intended) a nonsensical purpose in the film and you swallow both items whole, and then use the sleeve of the shirt to wipe the sauce off the sides of the mouth.
The Long Pig restaurant is everything, it is also a business that contributes to green living, but seriously. Inspired and consistent in with the B-grade sensibilities, the film moves forward, self-mockingly; a delight for genre fans, while Smith and his team introduce a sly contemporary perspective to this sharp, wickedly funny, and unexpectedly heartfelt homage.
The third act comes across as completely detached from the rest of the film with it being so damn serious (why?)
Good black guy to a Cantonese bad guy: “Bring it on Hong Kong.”
Cantonese bad guy: “OK Jean-Claude Black Damme, you bring it on.”
I mentioned it was racist.
Alyson Bath is jailbait fo’ shizzle.
Do yourself a favor and get your hands on this film as soon as possible
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