Feast

Trapped inside a remote tavern, a ragtag group of strangers realizes their only chance for survival is to band together. The place used to feel cozy and safe, now it feels like a coffin with a door that might not hold against what stalks outside. The threat is immediate a family of ravenous creatures that lurk in the alley and skitter along the rafters, and the siege turns the building into a claustrophobic battlefield. As fear rises so do old resentments and new alliances, forcing each person to choose between self preservation and helping others. With every scream and surrender, the night tests courage, trust, and the price of staying alive.

Directed by John Gulager from a script by Marcus Dunstan and Patrick Melton, Feast was produced on a lean 3.2 million budget. The horror action feature, anchored by Navi Rawat, Balthazar Getty, Jenny Wade, Henry Rollins and Duane Whitaker, debuted in 2005 on festival circuits before a limited theatrical release and it spawned two sequels.

Reception leaned toward a guilty pleasure verdict, with critics praising the film's practical creature effects and brisk siege pacing, while noting uneven tonal shifts. Viewers respond to its blend of horror and dark humor, and its claustrophobic setup invites discussion of loyalty, leadership, and sacrifice when the group fights an overwhelming flood of attackers. Its tone toggles between brutal suspense and cheeky savagery, delivering moments of wry humor amid grisly set pieces.

Cultural footnotes include its place as a mid 2000s horror feature that expanded into two sequels and helped popularize a tongue in cheek creature siege subgenre. Fans remember its practical effects, bustling tavern siege set pieces, and Gulager's offbeat tone that mixes gore with humor. The series continued with Feast II Sloppy Seconds and Feast III The Happy Finish, cementing the quirky niche the film carved.

Feast earned 658,573 worldwide against a 3.2 million budget, reflecting its limited release strategy and niche appeal. It performed better on home media and in the festival circuit than in wide theaters, a common fate for this kind of genre hybrid.