FeedPosted by Lehmann Borg on April 29th, 2021 watch hd movies
How tough are you? This is the initial question that B-Movie director Brett Leonard poses to the audience in his ambivalent sicko thriller “Feed” without further ado ... and directly between the eyes. Unfortunately for the filmmaker testing the limits is more important than his fetish plot itself, so that "Feed" sells its potential below its value.
Phillip Jackson (Patrick Thompson) is Australia's best cybercrime investigator. The officer specializes in tracking down illegal pornography on the Internet - pedophiles and sadomists are his "customers". One day a fat erotic website piques his criminal interest. Thin men ("feeders") fatten heavily overweight women ("gainers") to physical excess and at the same time live out their sexual fantasies in this bizarre constellation. However, Phillip believes that the operator of the ominous website is driving his wives to their deaths. But his supervisor (Jack Thompson) in Sydney does not want to hear about the suspicion. That's why the fanatical policeman sets out on his own to Ohio to hunt down Michael (Alex O’Loughlin), the feeder. But he's smarter than Phillip thinks and has already prepared for a game with the cop ...
A serious warning in advance: “Feed” can only be consumed by movie fans with very strong stomachs and a stable psyche. Director Brett Leonard (“The Lawnmower Man”, “Virtuosity”) goes far beyond the limits of good taste, but does so with a good measure of style. His thriller is visually a real treat, but most of it will get stuck in the throat while consuming it. But not because Leonard brings up an extremely questionable sexual fetish as the motor for his action, but rather because of the exaggeration of this perversion. When the "gainers" of the antagonist Michael are fed with the fat concentrate of the victims who have been fed to death by tube-mouth infusion, the emotional limit of vomiting is reached. The problem with this: "Feed" would not have needed this excessive strain at all. The thriller plot doesn't go beyond the B-Movie standard, but the characterizations are okay and the psycho duel between Phillip and Michael is actually grippingly staged.
The consistency with which director Leonard goes his way to the bitter end is commendable. That drives the plot into even wilder realms, but the solution is consistent in the story context, even if the claim to reality is lost here. The boundaries between pro and antagonist are fluid anyway. The “good”, Phillip, is almost as ambivalent as the “bad” psychopath Michael. Patrick Thompson (“Roadflower”) and Alex O’Loughlin, who both played together for Brett Leonard in his “Man-Thing”, make a passable team. Their rough charisma is interesting, so that the dialogues, which are not always Shakespeare-ready, are more bearable (please avoid the bad German dubbing!). The cinematic motivation of the hunter and his “sexual background” are a little weak on the chest or are half-baked. Instead, the hunted is surrounded by a much greater authenticity. But if the viewer accepts Phillip's actionism without complaint, the story works well.
The thriller's chic look is particularly appealing thanks to the use of color filters and blatant, fast cuts that give the film impeccable dynamics. In the credits it is explained to the audience that “feed” is fictional in nature, but that what is shown is based on real backgrounds. For example, a short sequence can be seen in which Brett Leonard alludes to the cannibals of Rotenburg (implemented underground in Rohtenburg), but here only the core of the fact is taken over. As is well known, the bizarre subculture of fat eroticism actually exists - regardless of how much disgust this causes in most people. Leonard keeps his standards pleasantly low and only uses these elements as building blocks for his thriller plot. He by no means wants to subjugate his audience with a social study, but rather a straight B-movie with a strong disgust. “Feed” has enough potential and quality to be popular with certain fan groups, but nothing more. Perhaps it would have simply taken a more accomplished filmmaker than Brett Leonard to produce genre-worthy items that were really worth seeing. But the flip side of the coin: no well-known director would even dare to approach such a sensitive subject.How tough are you? This is the initial question that B-Movie director Brett Leonard poses to the audience in his ambivalent sicko thriller “Feed” without further ado ... and directly between the eyes. Unfortunately for the filmmaker testing the limits is more important than his fetish plot itself, so that "Feed" sells its potential below its value.
Phillip Jackson (Patrick Thompson) is Australia's best cybercrime investigator. The officer specializes in tracking down illegal pornography on the Internet - pedophiles and sadomists are his "customers". One day a fat erotic website piques his criminal interest. Thin men ("feeders") fatten heavily overweight women ("gainers") to physical excess and at the same time live out their sexual fantasies in this bizarre constellation. However, Phillip believes that the operator of the ominous website is driving his wives to their deaths. But his supervisor (Jack Thompson) in Sydney does not want to hear about the suspicion. That's why the fanatical policeman sets out on his own to Ohio to hunt down Michael (Alex O’Loughlin), the feeder. But he's smarter than Phillip thinks and has already prepared for a game with the cop ...
A serious warning in advance: “Feed” can only be consumed by movie fans with very strong stomachs and a stable psyche. Director Brett Leonard (“The Lawnmower Man”, “Virtuosity”) goes far beyond the limits of good taste, but does so with a good measure of style. His thriller is visually a real treat, but most of it will get stuck in the throat when consuming it. But not because Leonard brings up an extremely questionable sexual fetish as the motor for his action, but rather because of the exaggeration of this perversion. When the "gainers" of the antagonist Michael are fed with the fat concentrate of the victims who have been fed to death by tube-mouth infusion, the emotional limit of vomiting is reached. The problem with this: "Feed" would not have needed this excessive strain at all. The thriller plot doesn't go beyond the B-movie standard, but the characterizations are okay and the psycho duel between Phillip and Michael is actually grippingly staged.
The consistency with which director Leonard goes his way to the bitter end is commendable. That drives the plot into even wilder realms, but the solution is consistent in the story context, even if the claim to reality is lost here. The boundaries between pro and antagonist are fluid anyway. The “good”, Phillip, is almost as ambivalent as the “bad” psychopath Michael. Patrick Thompson (“Roadflower”) and Alex O’Loughlin, who both played together for Brett Leonard in his “Man-Thing”, make a passable team. Their rough charisma is interesting, so that the dialogues, which are not always Shakespeare-ready, become more bearable (please avoid the bad German dubbing!). The hunter's cinematic motivation and his “sexual background” are a little weak on the chest or half-baked. Instead, the hunted is surrounded by a much greater authenticity. But if the viewer accepts Phillip's actionism without complaint, the story works well.
The thriller's chic look is particularly appealing thanks to the use of color filters and blatant, fast cuts that give the film impeccable dynamics. In the credits it is explained to the audience that “feed” is fictional in nature, but that what is shown is based on real backgrounds. For example, a short sequence can be seen in which Brett Leonard alludes to the cannibals of Rotenburg (implemented underground in Rohtenburg), but here only the core of the fact is taken over. As is well known, the bizarre subculture of fat eroticism actually does exist - regardless of how much disgust it causes in most people. Leonard keeps his standards pleasantly low and only uses these elements as building blocks for his thriller plot. He by no means wants to subjugate his audience with a social study, but rather a straight B-movie with a strong disgust. “Feed” has enough potential and quality to be popular with certain fan groups, but nothing more. Perhaps it would have simply taken a more accomplished filmmaker than Brett Leonard to produce genre-worthy items that were really worth seeing. But the flip side of the coin: no well-known director would even dare to approach such a sensitive subject.
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