Film

Feast

Name: Feast
Genre: Horror
Released: 2005
Cast: Navi Rawat, Balthazar Getty, Jenny Wade, Henry Rollins, Duane Whitaker

Feast is a gloriously trashy creature feature from Project Greenlight's first season. A random crew of bar patrons must survive a siege by ravenous monsters in an isolated dive. It's all gnashing teeth, arterial spray, and people you don't care about dying in vivid ways—genuinely fun if you want horror that doesn't take itself seriously and knows exactly what it is.

TMDb rating

3.1

Should you watch it?

Watch it if you enjoy lean, gleefully nasty creature horror that trades subtlety for bloody momentum and a rowdy sense of humor, the kind of cheap-and-cheerful gorefest that never takes itself too seriously.

Skip it if you want slow dread or deep character work; this is loud, crude and relentlessly gory, and the bar-room banter can feel more like a rough warm-up than a payoff.

What it asks of you: Brisk and short at under ninety minutes, it asks you to lean in for scrappy, shouty chaos and to accept rough edges, with little patience for quiet build-up.

Not sure? Find tonight's pick in a minute.

If you liked this

From Dusk Till Dawn1996

Vampires invade a roadside strip club in a gore-soaked blast of genre enthusiasm. George Clooney and Quentin Tarantino collide with Robert Rodriguez's full-throttle direction, and it never stops moving or grinning.

But Wildly uneven in tone. It pivots from crime thriller to supernatural chaos and doesn't always land the gear-shifts smoothly.

Deep Blue Sea1999

Genetically enhanced sharks hunt trapped humans in an underwater facility. Samuel L. Jackson, LL Cool J, and a ridiculous premise executed with real craft and actual suspense. It knows how much fun this is.

But The plot is completely absurd and the kills are predictable. If you need a strong script, you're looking elsewhere.

The Descent2005

Women trapped in an unmapped cave system encounter something lethal in the darkness. Claustrophobic, genuinely scary, and built on character before it reveals the monsters. A class act.

But Slower to get going than Feast. The first half is mundane relationship drama before things turn ugly.

Not sure tonight? Get a pick in a minute, starting from Feast

The wildcard

Something you would not have found on your own.

Eating Raoul1982

Both are siege narratives where strangers forced together must reckon with violence. Eating Raoul inverts the dynamic—the normal people are the threat—but it shares that tight, trapped feeling and the dark comedy of bodies piling up.

A prudish married couple murder swingers and cannibalize them, then sell the meat. Paul Bartel's deadpan satirical horror-comedy treats terrible people with affection. It's funny, nasty, and genuinely weird.

But Not at all what Feast is—it's arthouse, satirical, and slow. The humor is cerebral and the gore is minimal. You have to like 1980s indie weirdness.

Eight Legged Freaks2002

Giant spiders terrorize an Arizona town. B-movie premise executed with affection, humor, and David Arquette doing his best. It's pure entertainment and never pretends to be more.

But Completely silly. The effects are dated and the dialogue is intentionally corny—if you want subtlety, this isn't your movie.

Tremors1990

Giant worms hunt humans in a small Nevada town. Kevin Bacon and Fred Ward spark off each other, the monsters are genuinely menacing, and it balances comedy and survival tension perfectly.

But The sequels diluted the concept. The original is great, but it spawned lesser returns and a TV series that drains some of the freshness.

Dog Soldiers2002

British soldiers on exercise encounter werewolves in the Scottish Highlands. Tense, nasty, funny without breaking character—made on a shoestring and all the better for it.

But Low budget shows. The gore is practical and occasionally unconvincing, and the pacing slows in the third act.

Pitch Black2000

Survivors crash on a desert planet where nocturnal predators emerge under cover of darkness. Vin Diesel becomes a star, the creatures are genuinely alien, and the survival logic is sharp.

But A little dated in its CG work. Some supporting characters are thin, and the climax feels rushed.

Anaconda1997

Jon Voight chews scenery in the Amazon while a monster snake hunts a documentary crew. It's ridiculous, unapologetic, and Jon Voight is having the time of his life.

But The snake is usually CGI and it shows badly by modern standards. The plot is thin and the acting outside Voight is forgettable.

Arachnoquake2012

An earthquake releases venomous spiders in Louisiana. Efficient B-movie fun with good practical effects and genuine suspense sequences. A solid evening if you want creature carnage without thinking.

But The script is thin and the characters are forgettable types. It's purely assembly-line creature-feature mechanics with no surprises.

Dead Poets Society1989

Both deploy excessive practical gore to explore class anxiety. Feast traps working-class people; Society traps a kid discovering his family isn't human. Both use flesh-mutation as social metaphor, though Society commits far harder to that reading.

A teenager suspects his wealthy family are shapeshifting creatures wearing humans like suits. Brian Yuzna's body-horror film is grotesque, inventive, and genuinely unsettling. The effects are disgusting in the best way.

But Very slow burn with long stretches of teenage melodrama before the body-horror erupts. If you want constant action like Feast, you'll be frustrated.

The Gate1987

Both feature trapped protagonists defending a single location against an onslaught of creatures they can't escape or negotiate with. The Gate transposes that siege to a suburban home and makes it about childhood wonder turned terrifying, where Feast embraces adult desperation. Different emotional registers on the same skeleton.

Kids accidentally open a interdimensional portal in their backyard and demonic creatures pour through. Peter Tieman's film is imaginative, unnerving, and weirdly sincere about suburban horror. Stop-motion, puppetry, and genuine dread.

But Made for kids—it's PG-13 and deliberately restrained. No gore, less visceral than Feast, and the effects show their age. It's spooky, not nasty.