Horror aficionados like myself are eagerly awaiting the release of Eli Roth’s The Green Inferno later this year. I’ll forgive the fact that it’s apparently inspired by Cannibal Holocaust (FUCK CANNIBAL HOLOCAUST) since no animals were murdered during this production. Official Synopsis: The Green Inferno follows a group of student activists who travel from New York City to the Amazon to save a tribe from extinction. In an unfortunate twist of fate, when the group arrives, they are taken hostage by the very cannibals they sought to protect.
Yesterday, I published the first half of my list: Top 10 Cannibal Horror Movies. You can find Part 2 after the jump.
Delicatessen (1991): Delicatessen is a French post-apocalyptic black comedy from writer/director Jean-Pierre Jeunet, the same guy who directed Amelie & City of Lost Children. Evil landlord Clapet places “Help Wanted” ads to lure victims to the building—where they are butchered and served to the tenants. Clapet’s daughter Julie falls in love Louison, a retired circus clown and the landlords next intended victim. Desperate to save her love, Julie recruits the Troglodistes, a militant vegetarian sub-group who reside in the sewers. Ok, it’s not so much a Horror movie, but it’s visually epic and very dark. Sweet flick.
The Hills Have Eyes (2006): I’m referring to the 2006 Remake since I have never seen Wes Craven’s original from 1977 (please forgive me). Writer/director Alexandre Aja’s The Hills Have Eyes is about as shocking and brutal as a Horror film can be. Based on the tale of Sawney Bean, the semi-mythical leader of a 16th century cannibalistic clan in Scotland, this modern retelling follows a family on an ill-fated road trip through the Nevada desert. While the “mutants” in THHE are definitely cannibals, there’s mostly just a bunch of sadistic mother fuckers who are just as likely to rape you, kidnap you, or burn you alive as they are to eat you. Definitely not for the squeamish (or those who have trouble with rape scenes), THHE is simply hard-fucking-core.
The Woman (2011): The titular woman in The Woman is the last surviving member of a family of feral cannibals who resided in the thick forests of the Pacific North West. Chris Cleek is a lawyer with a hankering for hunting who discovers the woman bathing naked in a creek. Chris Cleek is also an oppressive patriarch with some seriously disturbing parenting methods. He decides to bring the woman back to his family’s home in an attempt to “civilize he”r. Well, you can take the cannibal out of the woods, but you can take the cannibal out of the woman! This film has a deliciously controversial history that’s definitely worth researching. The ending is fucking crazy.
Dying Breed (2008): One of my absolute favorite After Dark releases, Dying Breed follows a group of friends on a conservationist trip to Tasmania. They hope to find proof of a though-to-be-extinct tiger. Instead they find an isolated community of decedents of “The Pie Man”, a notorious cannibal who escaped a penal colony in the 1820’s. Dying Breed is no joke, extremely violent and unnerving without a shred of comic relief. For some reason, the DVD art features an eyeball in a martini glass which has absolutely nothing to do with anything—quite misleading. It’s a shame because with a bit more effort in promotion and presentation, Dying Breed could have been a hit. Fans of Australian Horror especially need to take note of this underappreciate gem.
Frontier(s) (2007): I’ve said it before and I’ll say it again: Xavier Gens’ Frontier(s) is the crown jewel of New French Extremity. Simply a must-watch for all serious Horror aficionados. I’ve heard it described as a French version of The Texas Chainsaw Massacre, but that barely scratches the surface of the terrors that await viewers of Frontier(s). Imagine the best aspects of Texas Chainsaw Massacre, Hostel, and The Descent, throw in more firepower than a Rambo flick—and you’re still nowhere close. And did I mention the Nazis? Frontier(s) is the kind of film that will leave you shaken to the core. Those unfamiliar with New French Extremity should be aware: Films in this sub-genre don’t give a damn about happy endings. For the brave, Frontier(s) is an unparalleled cinematic experience.