For fans of post apocalyptic cinema who love their fiction with subtext and undertones of society and class warfare, you’d probably want to look elsewhere for your brain food. Goodness knows I loves my apocalyptic fiction, but “The Day” is purely apocalypse porn with an artsy gloss added to it for good measure. Director Doug Aarniokoski tries to conceal the fact that this movie is basically a clumsy and one-dimensional action film by lensing the entire film through a black and white filter that saps the color, and directing almost every shot with a hand held camera. Someone at Anchor Bay or WWE studios loves John Carpenter’s “Assault on Precinct 13” because 2012’s “The Day” is basically an end of the world version of it.
At first glance of “Long Pigs” and screen captures, many movie goers will be quick to dismiss Chris Power and Nathan Hyne’s mock documentary as merely a low budget film attempting to shock us in to submission and while in many ways “Long Pigs” is a gruesome and shocking film, “Long Pigs” also has a sense of sardonic humor and intelligence to it that makes it much more than just a movie about a cannibal and his fixation on the fine art of grooming human corpses to be eaten for his cooked delicacies. The directors behind this clearly were influenced by the likes of the classic film “Man Bites Dog” about a documentary crew anxiously trying to get in to the mind of a criminal who get too close for comfort, and “Long Pigs” is very influenced by that title engaging in a long moral and social breakdown of the greatest of taboos: cannibalism, and what repercussions they have in today’s society.
Watching Ruggero Deodato’s “Cannibal Holocaust” was an experience that I still remember with fondness. I sat with the DVD in hand at my television with a pit in my stomach and prepared to finally view what is considered one of the most controversial and taboo films ever made. And I wasn’t disappointed. Watching “Cannibal Ferox” was a different experience altogether. Maybe it was because the movie is not as good as the aforementioned horror film, or maybe it’s because Umberto Lenzi approaches this horror flick from a sexploitation angle with sensual women ravaged by cannibals instead of the mock documentary style as Deodato’s film.