Very very predictable, including the post credit scene !!!

Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

If you like to be scared, if you like to laugh, and if you like to learn a thing or two at the movies, this absolutely cannot be missed.

This is a gorgeous movie made by a gorgeous spirit.

Traveling out to sea, a group of seafarers crash landing on a deserted island and seek refuge with a professor on the island studying a group of silvery objects nearby that are keeping them on the island and forcing them to fight off the deadly creatures before they can leave.This one isn't that bad of a cheap creature feature. Among it's best features are the little creature in the film as it does some really good things with them being the star of the film. The fact that they're so small and quite imposing is a great feature, and since they're deadly this really manages to get a few good ideas thrown in. The fact that they're so small and can eat flesh gives them a nice advantage, since they can come up on their victims before they realize it is a fine feature, which is what happens several times in the film for great results of the creatures in some nice attack scenes here due to a couple of nice suspense scenes. There's the opening crawl over the beach during the windstorm and the later fight over the tide pools with the creatures below providing some decent and somewhat chilling scenes here. There's also some nice work here in the fact that because they live in the sea, it puts a damper on most of the potential escape attempts due to the fact that there's the opportunity of them to jump on board. That leaves a lot of potential ones to go through and not be workable, which is a great concept. This one is also a little more graphically violent than expected, and that is quite nice seeing the characters visibly covered with the creatures and the beginning stages of being eaten begin, and there's even a lot more shots of victims reduced to skeletons than normal, and there's a couple of others in here that are bloodier than expected. These here are what help the film, but there are a few flaws. Those, though, can all be traced back to one central idea, the film's cheap and cheesy appeal. Once the giant monsters appear at the end, this one is effectively pigeon-holed as such a film since they look really cheesy, perform even more so, and rarely look threatening. It is mostly noted for how they interact throughout here, which is where it gets the big mark for it's easily noticed that they're cheaply integrated together, and they make it that much more unlikable. The final fight with the huge one is the perfect example of this, and along with the hideous special effects work, is so cheesy that it's hard not to find it ridiculous. The last part is also based around the main twist at the end, which can be seen coming from a mile away and shouldn't even be considered a twist as it happens in nearly every single example with this set-up. These here are the film's biggest faults.Today's Rating/PG-13: Violence.

Jan Letterman (Barbara Wilkin), the personal assistant to an alcoholic, washed up actress (Rita Morley), hires charter pilot Grant Murdoch (Byron Sanders) on behalf of her employer. Grant is to fly them to Provincetown, but inclement weather forces them to land on a deserted island. There, a German accented scientist named Peter Bartell (Martin Kosleck) is conducting experiments centered around the existence of tiny, silvery flesh consuming creatures that thrive in the water."The Flesh Eaters" is noteworthy for such things as being a very early gore film (one of the earliest NOT made by Herschell Gordon Lewis and Dave Friedman), for inspiring a musical act of the same name, and for forcing George Romero to change the title of his legendary "Night of the Living Dead", which was originally going to be called "Night of the Flesh Eaters". It's pretty entertaining as far as schlock horror goes, although it is somewhat overextended. Sometimes it does get silly, tiresome, and overly talky. How one responds to comedy relief beatnik character Omar (Ray Tudor) may be strictly a matter of personal taste. This viewer found his shtick amusing at first, but thought that he wore out his welcome quickly. It has decent atmosphere, good black & white photography (Carson Davidson was the D.P., John Carroll the operator), appropriate music by Julian Stein, and some enjoyably grisly makeup effects. The script by co-producer Arnold Drake has its moments, with some snappy bits of dialogue.The acting is as bad as you come to expect from such fare, for the most part, with the jut jawed Sanders particularly clunky as the hero. Kosleck, fortunately, rises to the occasion with a wonderfully theatrical portrayal that is in the tradition of countless mad scientists in countless B pictures.Not bad, for this kind of entertainment.Future director Radley Metzger was the editor on this show.Six out of 10.

I often laugh out loud when I read reviews that are completely by uneducated cheeseheads (those who's vocabulary consists of one word to describe a movie like this.. cheese. To fully appreciate this film, you to look at it's history regarding uncut, cut, good print, bad print, etc. I was very frustrated trying to find a great, full screen print of this movie until I found it on AMC, but of course it was heavily cut. So I took scenes from two other sources that were uncut, but not as good quality, and ' Frankensteined' a print that I could appreciate for all it's glory, something that nobody reviewing this film can fully understand, and that's why they write based on ignorance.

Just a couple of weeks ago I caught a flick on the Monster HD channel called "The Brain Eaters", so when this one followed I just had to be there. There's just something dreadfully intriguing about pictures this cheesy, and if you watch enough of them, you really get to form a weird perspective and insight. For example, when I first saw the skeleton that washed ashore in an early scene, I couldn't help but wonder if it was the same one that was used at the bottom of the swimming pool in the following year's "Teenagers From Outer Space". You watch enough of these and you can put together all kinds of connections that your friends and relatives will marvel at.Now if I didn't know better, I'd also be wondering if Omar's 'Rosebud' raft was an inadvertent tribute to 1941's "Citizen Kane". Geez, I can't believe I even came close to that one. But you know, this flick has it's share of great lines like the one in my summary above. Or how about Murdoch's excellent analysis of the stranded islanders' situation - "Let's face facts Professor, we've stumbled onto a living horror".Here's what I'm thinking. You take the basic set up, a number of people of diverse backgrounds on an isolated island in the middle of an ocean. Let's say you've got this professor, a washed up actress full of herself, a hot looking assistant that the viewer can immediately relate to. Throw in a rugged good looking hero, and as a foil, come up with a beatnik character for the young set. You might also want to add an eccentric wealthy couple whose money is no good in their current predicament. I guess there's no way of knowing which work came first or which one inspired the other, but in "Gilligan's Island", the laughs were at least intentional.