Feed

If The Human Centipede showed us surgical sadism and Cannibal Ferox offered gut-wrenching tribalism, Feed brings the horror home—to bedrooms, bathrooms, and broadband. It doesn’t rely on exotic settings or science fiction—it stays grounded in bleak reality. The feeder doesn’t need a dungeon. He has a kitchen, a camera, and a thousand paying subscribers.

Coralie Fargeat’s The Substance tackles body transformation with intelligence and metaphor for a modern contrast. That film explores beauty, aging, and societal pressure through surreal horror, using bodily change to critique culture. Feed isn’t metaphorical. It’s literal, greasy, and soaked in sweat. If The Substance uses a scalpel, Feed uses a dirty fork. Both are about what we do to our bodies for approval and validation, but only one of them revels in the filth.

JACK THOMPSON PATRICK & BRETT LEONARD THE STARS & DIRECTOR/PRODUCER OF THE AUSSIE MOVIE FEEDERS (c) ICON IMAGES sydney

“…it’s grotesque, mean-spirited, and morally degrading…”

Stylistically, Feed falters in its direction, the dialogue is often clunky, and Carter’s character, while chilling, lacks the depth to deliver fully. He’s no Hannibal Lecter or John Doe—just a predator who thinks he’s a pioneer. The soundtrack is some curated rock and roll tune, giving the film the look of a music video at times, with rapid cuts and odd angles. The actors are committed as one must be to such a controversial vision and story; without it, the film would not be as intense.

Still, Feed lingers. Like the best exploitation horror, it forces the audience to question its own motives. Why keep watching? Fascination? The voyeurism of watching a train wreck? That’s where Feed earns its place in the grueling horror. Plus, it is what a film should do: provoke a reaction as it makes the viewer complicit in its depravity; this picture dares viewers to endure it. And no one leaves the table clean of this descent into Fetishism, Exploitation, and Moral Rot.