• · Eli Roth Faces Off With Tribal Rights Campaigners Over Cannibal Film.
• “Cannibal Holocaust” (1980) In spite of its grindhouse reputation, Ruggero Deodato’s horror masterpiece was, in fact, one of the most influential films ever made.

An anthropologist heads a rescue party into the South American jungle to find a missing film team making a documentary on cannibal tribes but can only return with. How do I watch Rick and Morty online without registration? If you are new to watching movies online, this guide will certainly help you.

Meat Is Murder: The 1. Best Cannibal Films. Watch My Super Ex-Girlfriend Download. This weekend’s “We Are What We Are,” an English- language remake we liked almost as much as the original, deals with a family that has a certain taste that’s frowned upon in most polite circles. Simply put: they’re cannibals. And cannibalism, in the long and colorful line of cinematic taboos, is certainly one of the more outrageous.

But it can also provide the backdrop for seriously twisted, enjoyable, over- the- top films with the ability to scare and make you laugh, sometimes all at once. And with “We Are What We Are” on its way to theaters, it got us thinking about the best movies in which people don’t just need people, they eat people. We decided, in whittling down the surprisingly long and varied list of movies that deal with cannibalism, to focus on the movies in which cannibalism is one of the film’s main concerns, instead of a weird flourish or plot thread. This is a list of movies where the act of consuming another person’s flesh is mainly what the movie is about.

And no, vampires don’t count; that’s blood, not flesh.) We also tried to steer away from the mainstream, looking at more of the oddities of the field, instead of the tried and true obvious choices. So sit back, relax, clear your plate, and enjoy our list of the ten best cannibal films. They’re lip- smackingly good.“Cannibal Holocaust” (1.

In spite of its grindhouse reputation, Ruggero Deodato’s horrormasterpiece was, in fact, one of the most influential films ever made. Thefirst half depicts the usual group (of poorly dubbed) ugly Americans/westerners, this time documentary filmmakers, who condescendingly fool around with the primitivelocals while shooting indifferent indigenous footage. There’s no tip- toeingaround the fact that these people are disgusting, and after they gang- rape avillager, it’s hard to not hope for the title to come true. And it certainlycomes true, but in a way most unexpected, as the crew doesn’t make it back tothe States, but the footage does. There are several implicit jokes in having theexecutives settle into a cozy room to watch what was brought back from thejungles, as if they’re being dared to find a moment to finally declare what isessentially snuff unairable. Watching people watch the footage, which comprisesnearly the entirety of the second half of the movie, complicates the issue ofmorality: we’re watching the reactions to this atrocity through the reactionsof first world citizens, allowing the audience to implicitly judge themisplacement of audiences’ sympathies by casting a mirror onto the viewer. It’snot at all an easy viewing, but within “Cannibal Holocaust” there is the germ ofevery single found footage movie that currently populates mainstream horrorfilmmaking, from the shock of seeing violence through multiple lenses, to theuneasy audience commentary that allows viewers an eerie, forced introspection.“Cannibal: The Musical!” (1.

Before “South Park,” Trey Parker and Matt Stone made a name forthemselves with this twisted musical, one that provides a gleefully anarchicretelling of the legend of famous cannibal Alfred Packer. The duo, who alsostar in this ramshackle low budget effort later purchased by Troma, don’t skimp on detailing the many ways the homicidal Packer gorged on hisinnocent victims. And that famous Parker- Stone sensibility is here as well. Both “Team America: World Police” and “South Park” featured moments that commenton their own cheapness, and so too does this film, which likely comes from the skimpy chump change theyhad to make a period- specific film with a minimal cast and crew.

Theself- referential attitude carries on to the casting of Japanese actors as. Native Americans, a shortcut repurposed to serve as political commentary. Butwhere “Cannibal: The Musical!” shines is through the lyrics and melodies of the film’s songs,which boast distinctly hummable tunes that foreshadowed Parker and Stone’sreputation as naughty transgressors who knew their way through a toe- tapper ortwo. Everyone who sees “Cannibal!” comes away with a different favorite tune,from the madcap “Let’s Build A Snowman” to the call- and- response of “That’s All. We’re Askin’ For”—Parker and Stone would become so fond of “Shpadoinkle” thatthe opening bars became the soundtrack to their company logo. Ravenous” (1. 99.

Eat to live,” opines Robert Carlyle, quoting Benjamin Franklin,“Don’t live to eat.” Those words prove to have a cruel irony in Antonia Bird’speculiar western saga, one that connects the dots between the tragedy of the. Donner Party and the recklessness of the country’s embrace of Manifest Destiny. Guy Pearce plays a coward soldier who somehow survives a massive battle byhiding, and ends up tagging along on a mission to explore uncharted areas ofthe west. His meekness soon attracts the mysterious Carlyle, possibly aflesh- eating survivor of the Donner Party who has managed to reawaken thespirit of the ancient wendigo beast by dining on human flesh.

Ravenous” wasmis- marketed as some savagely violent action western when it fact it’ssomething of a genre- mixed comedy, one that features arch performances from asupporting cast that includes Jeffrey Jones, Jeremy Davies and Neal Mc. Donough,all of them collectively raising their eyebrows with the material, not at it.“Ravenous” was apparently tinkered with heavily in post- production, though thefinished result is great fun, featuring a punchy period score by Damon Albarn and Michael Nyman andthe sort of irreverent spirit that comes from a pre- millennial western genrepiece starring actors from “L. A. Confidential” and “Trainspotting.” “Eating Raoul” (1. More a black comedy than an out- and- out horror movie, “Eating Raoul” walks a fine tonal tightrope and somehow manages to get away with it, mostly because its absurdist sense of humor makes it an always pleasurable romp even when its subject matter becomes rather bleak. Director/co- writer Paul Bartel stars as Paul Bland who, along with his wife Mary (Mary Woronov), play a prudish married couple living in Hollywood who take to murdering swingers in their apartment building for a little extra cash. Robert Beltran plays Raoul, a small time criminal who witnesses the Blands’ dirty business before striking up a bargain for his silence, sharing the profits of the murder victims (Raoul also strikes up a sexual relationship with Mary, which might be the most insane part of the whole movie).