Les bêtes féroces attaquent

Somehow PCP gets into the water supply that ends up driving the animals to attack people in this mid 80s eurotrash creature feature. Although the movie is never as fun as its concept promises. It still manages to be so utterly absurd especially when it concerns killer ballet dancer kids it's just fun and wild. What's really impressive is the real animals they used and I wonder how it all came together. The training must have been insane and I'm sure the film had some fatalities.

3.25/5

If you love Italian horror then you already know and have seen some of the best of the genre such as Suspiria, Deep Red, Demons, Cannibal Holocaust...

Well it turn out this one is a truly unknown hidden gem of Italian horror from the 1980's, starring Lorraine Desalle (Cannibal Ferox). No, it's not scary or that gory, but an entertaining and unintentionally hilarious animal attack movie, a perfect Italian B movie cheese. And it features real animals too instead of practical effects which is impressive.

So many cool scenes such as a jaguar chasing a jeep in the middle of a city, but the best scene is when tigers attacking passengers in a subway train. The scene is surprisingly suspenseful, this movie is cool check it out.

Dangerous zoo animals escape from their cages and run amok in the city after drinking water contaminated by PCP (a hallucinogenic drug also known as angel dust, busy bee, peace powder, zombie dust and jet fuel).

Technically speaking, Franco Propseri's Wild Beasts is far from a good film, with clumsy direction, terrible performances and diabolical dialogue throughout; that said, it sure is entertaining, a cheesy trash-fest full of unintentional laughs and OTT death scenes, and what has got to be the greatest 'cheetah chasing a car' scene in movie history (on account of there being no other contenders for the title).

The bloody death and destruction on offer includes stampeding cattle running down pedestrians, rats devouring a couple having sex in a car, a woman's head stomped by an elephant, a seeing-eye dog savaging his master (he didn't see that coming!), and a savage polar bear attack on a bunch of kids (who, having drunk some PCP themselves, also become killers!).

This being an early-80s Euro-horror, there is also some incredibly un-PC content which only adds to the bonkers exploitation vibe: not only does Prosperi deliver a gratuitous topless shot of obnoxious pubescent schoolgirl Suzy (Louisa Lloyd ) within the first few seconds, but there is enough real animal violence on display to give PETA supporters an instant coronary—animals were most definitely harmed during the making of this motion picture (sucks to be a rat in the European horror movie business).

6.5 out of 10, rounded up to 7 for IMDb.

Greetings And Salutations, and welcome to my review of Wild Beasts; here's the breakdown of my ratings:

Story: 1.50 Direction: 1.50 Pace: 1.25 Acting: 1.25 Enjoyment: 1.50

TOTAL: 7.00 out of 10.00

I have to state that after watching this movie, I was more than considerably impressed. I can understand the saying, never work with animals and children, so I have great respect for the guys and gals in this flick as they had to cope with both. Moreover, they do it so well. Remember, they filmed this movie before CGI was a dream in Pixar's Luxor Jr's shining eye. These beasts are real - Real Claws - Real Teeth.

The story writer and director Franco Prosperi delivers to the audience is a logical and enjoyably lively succession of animal attacks. Everything appears normal at the unnamed European City's Zoo. (Leaving it unnamed was a great idea because it enforces the notion that these events could happen anywhere. Sadly, in the filming you'll see both the city's and zoo's names.) Franco introduces the audience to the principal characters in these opening sequences and displays the normality of zoo life. We see Professor Laura Schwarz and Rupert Berner, head-keeper and vet, making their rounds. They have to sedate and operate on a female tiger to stem the blood flow from her wounded nipples due to her cub's overanxious feeding. These unexpected moments and the busy workload keep Laura away from her daughter Suzy, who appears to be a latch-key kid of twelve or so - and there were quite a few back in the 80s. But that night, Rupert gets a call from the police because a pack of rats have turned ferine. Whilst at the scene of the fatal rodent attack, the animals in the zoo grow restless and start assailing the keepers. What's wrong with the city's creatures? Laura and Rupert are assigned the problem of solving the mystery. Will they be able to figure out the trouble, or will the incidents worsen? The characters are well written - though a few subtitle translations needed better revision as the dialogue is a tad unnatural. I loved Suzy; she's a tough, single-minded kid who isn't afraid to tell her mother that she needs more time with her than she's willing or able to give. I wish there had been more of her in the story. Another letdown of the story is the scope. I admired Franco's progression of the induced insanity - Rats to Zoo animals to pets to farm animals to humans. But once you learn the source of the infection, you begin to wonder why so few incidents had occurred. The scope needed to cover the entire city.

Franco, though he needed to polish the story a little more, didn't need to do anything with his cinematography. It's not perfect, and because of the imperfections, it works better. It possesses a grittier style that works splendidly with the subject matter. If you are squeamish, Wild Beast may not be your cup of tea. The opening sequence shows feeding time at the zoo. We open on a decapitated horse's head being cleaved in two. Yep, an actual equine noggin. Feeding time can be gross, but it aids in building the authenticity of the zoo. And Franco maintains the naturalness throughout the movie - well, almost. The polar bear at the ballet class was a little hard to swallow - it's all that fur; it gets stuck in your throat. He keeps the pictures' realism simply and effectively. He utilises real animals whenever he can. But will then substitute mock creatures for the kill scenes and more complex notions. In one sequence of a tiger attack, Franco films a stunt man wrestling a live tiger. Next, the tiger's been swapped out for a model big cat. Back to the real one. Then back to fake. Finally, when the big cats have defeated the man, we see two of them pulling their prey apart by the legs - a fake bloke. Franco keeps it tight and uses differing angles and quick cuts to make the whole segment appear realistic and ramp up the exciting tension. And for the most part, these work brilliantly; I especially liked the head-stomping elephant rampage. But there are times, like the polar bear and the jaguar attacks, where it doesn't work so wonderfully. The bear simply looked fake, and there's no genuine dread to the scene. But the Jaguar was okay until Franco decided the cat needed to tug off the shoes. The effects team bring in one of the worst-looking puppet Jaguar heads. Its jaws are solid, and they have trouble removing the footwear. It may have been better to have the actual cat remove the shoes from a false leg. These scenes display Franco's resourceful filmmaking. However, for most of the remainder of the movie, Franco adopts a routine filming style. Happily, he possesses a talent for composition and using light and shade effectively to create tense and dread-filled atmospheres. The subway sequence will keep you glued to the screen. There's one brilliantly thought-out death scene. We see a hand and arm slap down onto the counter in the zoo's control room. Heavy shadows enshroud the room. The fingers move as if they're walking the arm down the countertop towards the phone. They stop short of the dial. A man jolts upward from behind the desk - so it's not a supernatural severed limb - then falls back down - Dead! It's quick and straightforward, but I found it massively entertaining.

The cast isn't half-bad either, though they all could've done with a smidgen more pizazz in their performances. Antonio Di Leo as Rupert Berner needed more forcefulness in some of his scenes. I liked the character, but there are moments when he's too wishy-washy. And these instances come in the heat of the action when he should be more authoritative. The actress who does an excellent job is the young Louisa Lloyd as Suzy Schwarz. She has the pizazz the others are missing.

I loved this creature feature and admired the use of actual animals in most segments. Though I'm unsure if any got hurt or killed - it is an 80s Italian flick. That said, the story is entertaining and well structured with okay characters. But the situations will entertain the viewers most - there's a cheetah running through the city streets chasing a VW Bug. So, if you like your Animals Strike Back movies, I suggest you give Wild Beasts a look-see. I'd also recommend it for a Friday Night Is Fright Night movie-fest whilst cuddled up in your loved ones' arms on a cold winter night.

Okay, Mister Polar Bear, practice your pirouettes while I check out his IMDb lists - Absolute Horror and Monstrous to see where he rated Wild Beasts.

Take Care & Stay Well.

This is only okay but it has a very good start and if it had only gone a little bit further could have ad a sensational finish. The rats (mice?) and the lovemaking couple in the car is really well done to get things off to a scary, horrible and ultimately very gory beginning but although there is some fun to be had with elephants breaking out of the zoo and a cheetah chases a car down a high street (Frankfurt?) ir is not too horrific. Elephant foot on the face is not too pretty, I must say, though. Most interesting thing here is that the director is he of the Mondo Cane films and aside from the documentary style, Uncle Tom is his first dramatic feature. There is also quite an Umberto Lenzi feel here both with those constant zoomed close-ups of gory detail and the presence of Lorraine De Salle who also stared in cannibal Ferox and Ugo Bologna, here the police chief but also featured in Nightmare City. Interesting rather than gripping film and I can only imagine that to end when the children have begun to appear so menacing might have been in hope of a follow-up.