Film Review: Cannibal Messiah (aka Der Konig Der Kannibalen)


By Jerome Reuter

 Plot Synopsis: Two independent filmmakers (portrayed by the film’s directors, Crippler Criss and Master W) head into the jungle with a paramilitary commando known as the Pathfinder. They’re on a search for a missing filmmaker named Alan Jates, who has become a leader of a cannibal cult.

The cannibal exploitation film—It was once immensely popular in the late 70’s and early 80’s, but it’s since become another sub genre that’s run its course. Recently, Eli Roth attempted to reinvigorate the craze with The Green Inferno, and failed horribly. Roth continues to turn out predictable releases that are bland, poorly written, and cater to the lowest common denominator. So the question is, can this long lost craze be given a new direction? Or has the ship left the harbor, never to be seen again?

German splatter has answered that question with Cannibal Messiah. It’s a horror comedy that pays homage to the subgenre, most notably Cannibal Holocaust, and parodies many of the tropes and themes from other notable works in said genre. It’s a self-aware splatter-fest, full of flesh consumption, blood, gore, humor, and absolute carnage. It pulls out all the stops, and gives us a cornucopia of excessive violence that’s comedic in its appearance. We have a product that’s an entertaining combination of Evil Dead and Violent Shit. This is a work truly in the vein of Andreass Schnaas, and a must watch for any fan of low budget gore.


Our story is focused on two independent filmmakers, who are actually portrayed by the films’ directors, Crippler Criss and Master W. Right from the start; the film breaks the fourth wall, and doesn’t hide its intention from the audience. We’re introduced to the legend of a missing filmmaker named Allan Jates, (paying homage of course to the fictional filmmaker in Cannibal Holocaust.) and his found footage that’s become somewhat of an underground sensation in the horror community. This is something dominant throughout the course of the story, a consistent mockery of how enormous the found footage genre has actually become. What better way to address this than hinting at the film that introduced this practice to the world?

More than just referencing Ruggero Deodato’s 1980 classic several times, it also mocks the typical horror fan and filmmaker alike. It addresses the compulsion to make a sensational and shocking work, and the chaotic devotion to the genre that several fans are guilty of possessing. It manages to do all of this, while knowing what type of film it is, and not taking itself too seriously. In short, it’s a fun romp, and the viewing equivalent of taking a leisurely dip in a bathtub full of blood while being tickled.


Considering so many films in the subgenre tried so hard to be shocking and controversial, it’s refreshing to see a product that’s actually light hearted in its approach. Much of the practical effects appear more ‘tongue in cheek’ than visceral or grotesque. If nothing else, this film is proof that you can make any subject matter hilarious. Fans of cannibal movies will enjoy this one, for all the right reasons.


Cannibal Messiah is available through the films Facebook page.



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