Film Fests
[Review] BROOKLYN HORROR FILM FESTIVAL 2023: ‘Cannibal Mukbang’ (2023) We’re Eating Good
From the minute I read the title Cannibal Mukbang among all the other entries on the schedule, I knew it would surely be one of Brooklyn Horror Film Festival’s most anticipated films. That experience wasn’t unique: it sold out online the day after I learned about it. On the day of its premiere, waiting at the top of the stairs of the Nitehawk Cinema, I watched a rush ticket line practically spill out the door as people tried to secure a spot. And from the first few frames to those final credits, there was applause and laughter from nearly every seat in the theatre as we watched a piece of delicious indie horror unfold.
Safe to say, Cannibal Mukbang lives up to the hype.
A YouTube Trend Gone Wonderfully Horror
An anxiety-ridden customer service rep with a shaky sense of self, Mark is lost and lonely. But when the hot mess is hit by a car driven by manic pixie dream girl Ash, the two slowly fall in love at first bite. Ash’s work schedule, however, is a bit different: by day, she films mukbangs, a South Korean genre of video content where people eat ungodly amounts of food for an adoring audience. By night, her cravings for human flesh take precedence as she hunts for her next meal and punishes her victims. As the lovers discover more about each other’s past, Mark and Ash are put on a collision course with destiny—and are served a final course that shocks them both.
So, what makes a film that’s equal parts romantic comedy and horror drama so good? Both are subject to the double-pronged issue of balancing multiple genres, but thanks to an undeniable, once-in-a-blue-moon kind of talent from its cast and crew Cannibal Mukbang pulls it off.
Delectable Casting with Stunning Effects
April Consalo’s Ash is a must-see, being able to portray a multifaceted character effortlessly. She brings a fusion of tactically feigned innocence, disconnected coldness, and genuine cunning that is hard to pin down; it gives life to a character rife for dissection, and it’s backed up by a range in delivery that reaches a fever pitch in the film’s final moments. Even if you disapprove of her hunger-driven choices, Consalo makes Ash so charismatic and convincing that she has a firm shot at winning a “Good For Her” Award from just about anybody who will watch this. What else can I say? She’s beauty, she’s grace, she’ll make charcuterie out of your face.
(Also, a quick shoutout to costume designer Jolene Richardson, whose curation of Ash’s outfits is, no pun intended, a visual chef’s kiss.)
Hand in hand, Nate Wise’s Mark is no joke, matching Consalo’s intensity as the film goes on. Wise teased in the Q&A after the film that he found his own confidence issues as something that helped him nail the part, but the highlight of his performance is undoubtedly portraying the slow change into a more confident person as his relationship with Ash blooms. As his pallor improves and his appearance becomes less messy with every meal, you really feel his metamorphosis, and that makes the film’s resolution all the more impactful.
Photo taken at Brooklyn Horror Film Festival
Director Aimee Kuge Stuns With Her Stylistic Choices
Aimee Kuge’s artistic vision throughout the entire picture’s cinematography feels unfettered, and that’s most evident in the stretch of the film that flashes back to Ash’s origins and shows us how a killer is made. The sequence evokes the exploitation style of the ’70s cannibal boom, signaled by the title and poster with incredible skill. It tells a quiet and chilling story that could be a whole movie on its own. You get 30mm film grain grotesquery that’s expertly done and contrasts nicely with the rest of the film’s clean-cut, bright, and colorful presentation.
I’d also be remiss if I didn’t mention that all throughout the film, you get a veritable buffet of guts, blood, and bones on display as Ash makes a butchery of her targets. The SFX used to show us the gore run a range of textures, captured on film in all their forms: thick, runny, muscular, and gooey alike. It is a cannibal mukbang after all, so rest assured there are pounds and pounds of USDA, Grade A, nasty fake people meat for everyone at the table. Practical effects fans will be eating good with this one.
Humor and Heart in a Gory Package
Even through the sweat, blood, and saliva of the film’s gorier segments, the film’s core is a romantic comedy with breaks of humor that accentuate the messed-up fun of Cannibal Mukbang. Kuge’s script is undeniably funny, and the jokes hit on perfect timing even when they’re more crude than witty. The comedic voice of the film ranges in inspiration from Jennifer’s Body to some of Edgar Wright’s work in the Cornetto Trilogy and Scott Pilgrim, to even the tar-black dark humor of Texas Chainsaw Massacre and American Psycho.
Ultimately, the fact Cannibal Mukbang can emulate these cult classics without feeling like it’s aping them or going through the motions like some homages would is just one of the many measures of expertise on display here, and if it finds the right audiences upon a wider release, feels telling of the popularity it could have.
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This is usually the part where I would say, “Get out and go to the theatres to catch this film right now”, but this is part of our coverage of Brooklyn Horror Film Festival 2023! This is definitely a movie you want on your radar, so keep your eyes peeled for it!
Every once in a while, a festival film oozes with so much craft that it’s hard to believe it exists. I’ve only seen a handful of films on the circuit that filled me with seething jealousy that I didn’t come up with them first. Films like All Jacked Up and Full of Worms and Jimmy & Stiggs are two of the main films that come to mind. As I round out my coverage for this year’s Chattanooga Film Festival, I inadvertently ended with a film that rivals American Theater for my Best of the Fest. Donnie Hobbie’s Jump Scare truly astounds on nearly all fronts and shows how to pay homage to the films (and filmmakers) that are beloved, while still remaining original and unique.
What is Jump Scare About?
The metal band known as Jump Scare, comprised of Val (Chelsea Talmadge), Jen (Erin Ruth Walker), Kye (Shannon Dang), and Debbie (Madison Abbott), head to a cabin in the middle of the desert to work on their latest album. Little do they know that their closest neighbors are a hellbilly’s worst nightmare. One by one, Jump Scare gets smaller and smaller as the neighbors reveal their true horrors. But the band doesn’t take too kindly to the onslaught of violence brought towards them. Metal may not be dead, but Jump Scare might be very soon.
How Did We Get Here?
Writer/director Donnie Hobbie’s Jump Scare is a truly unique piece of genre that pushes the boundaries of good taste in some fascinating ways. Hobbie’s distinct style blends homage and originality in a way Tarantino could only wish for. What’s fun about Jump Scare is how you can truly feel the love for the films considered ‘inspired by’ while still being able to see and feel Hobbie’s personal style. Jump Scare is a dash of Tarantino, Rob Zombie, and Panos Cosmatos, with a heaping spoonful of Hobbie. But in saying that, I fully acknowledge that only Panos Cosmatos could make a film as great as Donnie Hobbie.
Hobbie’s adrenaline-fueled story is not only expertly crafted, but chock-full of blood, guts, and viscera; it’s the epitome of a midnight movie. From blood geysers, hammers to heads, and shotguns galore, Jump Scare has a kill for everyone. While the effects, both practical and digital, make the film a blast to watch, it’s the performance of the main cast that sells this film. Have you ever watched a film and thought, “No one else could ever play this role”? That’s exactly how I feel about Jump Scare‘s cast. Every single actor was perfectly cast, and I can’t picture this film without every single one of them.
The Deeper Meaning Within Jump Scare
Not only is Jump Scare visually entertaining, but it has a deeper message that may become easily lost within the chainsaws and hammers. The running commentary in the film centers around the question “is metal dead”? This comes on the heels of the idea of sampling within metal music. When sampling comes up, the idea of art theft is broached. And this got me thinking. Jump Scare‘s antagonists are cannibals, and, if you think about it, sampling is a form of art theft. And what is art theft if not a form of self-cannibalism?
Jump Scare weirdly embodies this analogue of art theft = cannibalism. When art STOPS being original, when artistry is stripped away, are we not just creating more of the same? That’s why mainstream music, a la songs heard on any IHEARTRADIO station, doesn’t sit well with many people. That’s not to say sampling (or paying homage) is bad by any means. It’s when the main appeal of your song (or film) is solely predicated on work done [better] by others that came before, then what the hell are we doing?
Proper Homage vs. Soulless Ripoffs
That’s why Jump Scare works so well. There’s one particular scene that could easily be described as Hobbie’s version of the ear scene in Reservoir Dogs. But even in this explicitly blatant reference, Hobbie still makes it his own. Every time you watch one of those YouTube compilations that shows the original version and Tarantino’s version next to each other, it’s nearly impossible to tell the difference. It’s where substance and style clash. I love a Tarantino film (not the man) as much as the next person, but it’s impossible to watch one of his films without questioning, “which filmmaker did he steal this from?” While watching Jump Scare, you can pick out the inspiration without feeling bogged down by a soulless ripoff.
Jump Scare surprised me until the very last second, something that films struggle to do nowadays. God, I sound old. If you’re looking for a truly insane double feature, you could easily pair this film with Chainsaws Were Singing or All Jacked Up and Full of Worms. But if you just want to see the most truly surprising Eric Roberts cameo, then Jump Scare will fill that void for you.
I’ve said time and time again that horror comedies/dark comedies aren’t my forte. Filmmakers often don’t find the right balance between horror and comedy, usually resulting in a mishmash blend that feels unfocused and lacking. Moreover, I love ambitious films; horror comedies don’t often lend themselves to ambition. (That’s not a diss by any means.) Films like Tucker & Dale vs. Evil, The Draft!, and Chainsaws Were Singing are just a few that really broke the mold for me. Thanks to the lovely programmers at Chattanooga Film Festival, I can now add Frankie, Maniac Woman to the list of exceptional horror comedies.
Frankie, Maniac Woman Delivers a Bloody Twist on Horror Comedy
Frankie Ramirez (Dina Silva) is trying to break into the industry one way or another. Little did she know that her fame would come at a bloody price. Denial after denial, being told she’s not skinny or pretty enough, when enough was enough…Frankie takes her revenge. Can Frankie slash her way to the top of the charts? Or will her path of violence become too much for her to handle?
Co-written by Dina Silva and Pierre Tsigaridis and directed by Pierre Tsigaridis, Frankie, Maniac Woman is truly a sight to behold. Pierre Tsigaridis’ third feature film takes us to a deeper level than we’ve seen before (though that might not be fair to say, as I’ve only seen his first film, Two Witches). But much of the joy from this film comes from Silva’s co-writing and performance. Oh yeah, and the gloriously violent nature of it all.
Dina Silva Creates One of Modern Slasher Horror’s Best Villains
Dina Silva’s occasionally masked portrayal of Frankie brings us one of horror’s greatest villains of all time. Rarely do we see women in horror take the main stage as such a violent force of nature. And what we also see is a devilishly smart script. Silva and Pierre Tsigaridis’ creation of Frankie brings us both a protagonist and an antagonist. Frankie wants this life where she can live as the performer she is meant to be (because Silva’s voice is gorgeous). On the other hand, Frankie’s direct actions will make sure she never has a career, you know, with the slayings and all.
The beautiful nature of Frankie’s character is the moments of realization that she has warped the trajectory of her future with each subsequent kill. She could stop, sure, but what if killing is what she was meant to do all along? Frankie does have an amazing voice, but Frankie is a fantastic serial killer. If only there were a world where she could do both.
Frankie, Maniac Woman Proves Great Slashers Need Great Stories
Now I’m unable to access the screener again, and the IMDb credits do not show the name, so I can’t fully praise the people in charge of Frankie, Maniac Woman’s SFX. A film like Frankie, Maniac Woman shows me just how wrong modern slashers are. Take Terrifier, for example. Terrifier’s story is bland, uninspired, recycled, and lazy. It’s nothing but filler around a series of fine kills. Frankie, Maniac Woman uses its kills to emphasize its incredibly well-written story. A fine film has a story that’s enough to pass the time; a great slasher has a story that uses kills as exclamation marks.
Frankie, Maniac Woman’s kills are punctuation marks that are a level above exclamation marks. Whatever that may be. Frankie is an unstoppable killing machine, until she can be stopped. She’s not this infallible entity who can take six bullets to the torso and keep lumbering on…she’s just a person. A person with feelings, stamina, and brilliant comedic timing. She’s someone you could easily see yourself being friends with (as long as you didn’t know about the killings (hell, maybe even if you knew about the killings if that’s your thing)).
Frankie, Maniac Woman Is One of the Best Festival Horror Films of the Year
Frankie, Maniac Woman is a devilishly stylized slasher that exudes camp and craft. When was the last time a film made you cry from laughter and sadness? When was the last time you watched a film so viciously riotous that you hoped things would just…work out in the end? On top of being funny, brutal, and bloody as hell, Frankie, Maniac Woman is a genuinely ‘G’reat film. It’s one of the few festival films I’ve seen that’s unquestionably Criterion-worthy.
