Cannibals and Carpet Fitters (2017)


There is a long-standing tradition in folk-horror, all the way back to camp fire stories, of the weirdo family that lives in the middle of nowhere and eats anyone who inadvertently trespasses onto their hunting grounds. On an intellectual level it’s probably something to do with fear of the unknown and warnings against wandering too far away from the safety of the collective, but for B-movie fans it’s a very basic “hicks are inbred idiots” combined with the visceral thrill of transgressing one of the biggest cultural taboos. It’s morally reprehensible enough to make murder worse, it’s instinctively nauseating due to the fear of disease, and when done right it’s bloody funny.
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Humanoids From The Deep (1980)

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h4>The chances are that, based purely on the title of this film, you’ve already made up your mind if you are interested in this film or not, as no one comes up with “Humanoids from the Deep” if they want to make things enigmatic and surprising. Names like that are meant to evoke a certain set of feelings, much like how these kinds of films are designed to evoke a set of emotions whilst watching them. It’s not meant to be smart; it’s meant to be an obvious signal of a specific kind of entertainment. It pretty much screams “this will be puerile and base, in the most amazing of ways!” and then holds out an open can of beer and a smoke to entice you in. The good news is that this film delivers on those promises, the only problem is that it’s intercut with two other films that manage to do both more and less.
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Thanks to Stranger Things, Day Of The Dead has gained a bit of an increase in its otherwise tepid reputation. Known mostly for being the final of George A Romeo’s original Living Dead Trilogy, it never gained the prestige of Night nor the hipness of Dawn. It was just “the third one”, and didn’t really get talked about. That’s probably due to it being so utterly downbeat and bleak, even by the standards set by the master of zombie cinema.

The main reason for this is that it doesn’t follow the three-act drama set by the previous two films. Both of them, for all their diversity and difference to each other, have three key beats: zombies turn up, the humans find sanctuary and then quarrel, the zombies get in and nibble everyone. Day doesn’t have this tempo, as it’s set in a post-zombie apocalypse world. It’s three acts are: the zombies have won, the humans have false sanctuary and are already quarrelling, and then… well, no spoilers. Let’s just say it’s all far less optimistic, far less positive, and somehow far more realistic than the others. It’s also far more satisfying, if you are willing to entertain something close to a nihilistic zombie Waiting For Godot.
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Flesh Eater (1988) – The Night Of The Living Dead origin no one needed

If there is one thing zombie movie fans love, it’s watching the living being eaten alive to sate the hellish appetites of the undead hordes and their own, carnal sensibilities. If there is a second thing they like, it’s often having an interesting backstory behind the film and bit of vintage to its creation. This is possibly it’s due to the production tribulations and copyright problems of the touchstone work of the genre, The Night Of The Living Dead (NOTLD), or maybe it’s because, until recently, aficionados were considered the creepy cousins to more wholesome things like Vampires, Werewolves, and serial killers and needed something else to talk about between themselves once the delicate and nuanced plot variations of “and then they ate everyone!” have been chewed over. Whatever it is, 1988’s Flesh Eater (AKA Zombie Nosh and Revenge Of The Living Zombies) wears it’s rather curious pedigree on it’s chest, like the proud winner of Six Degrees of George A Romeo, due to being Produced, Directed, Written by, Edited, and Staring The Bill Hinzman!
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