The three master “M”s in erotic cinema are Meyer, Metzger, and Mallery. Meyer brought world-class cinematography and wildcat editing to the nudie table, while Metzger increased the aesthetic of the visuals and perceived quality of the erotic film in the art-house realm.
Mallery, working far in the future from those two masters, rose during the post-exploitation era after the collapse of commercial erotica due to what lurks in the incognito section of your smartphone. With the repetitive requirements of the erotic genre no longer enforced, Mallery was able to deliver sustained plot momentum and audience engagement above their zippers.
Feral continues the Mallery method of having real stories that feature sex as well as sexual marshaling but also raises the stakes in the characters’ lives instead of just their pants. By going to the pulp market, Mallery delivers popcorn thrills like those we have never seen in a spanker.
“Mallery was able to deliver sustained plot momentum and audience engagement above their zippers.”
This time, he goes neo-noir to that genre’s most interesting scenario, which is femme fatales only. The great noir traditions are observed, such as the use of narration directly to the audience by the main character talking over a flashback. The twist in concept is here: the doomed loser and the femme fatale are the same character, so all bets are suddenly off.
Winters gets a chance for her cult stardom to shine in a major role. While her visual impact, with all her tattoos and piercings, is assured, it is her ferocity that runs rampant here. With Winters, Mallery has his Tura Santana, his domineering female force of fury.
Feral is all dressed in black and is ready to pounce. It will please hardcore followers of noir as well as noir followers of hardcore.
"…all dressed in black and is ready to pounce."
