This no-budget, poultry-based indie horror-comedy takes the usual Troma approach to home-made digital video film-making, and ladles on deliberately crap physical special effects and larger-than-life characters, with a broadly played collection of performances by a young cast of actors, who find themselves in a scenario designed by first time writer-director Sam Drog to be as boldly absurd and as tasteless as is possible to make up fo the lack of money on screen.
Melissa K. Gilbert trades on her own name while playing a big-busted blonde Georgia waitress at a greasy-spoon, redneck-infested cafe called (hilariously!) Cooters. On an illicit fag break with her dumb car mechanic boyfriend Bobby Ray (Jason von Stein), she is randomly abducted by a carload of flamboyantly camp Satanists, headed by apparent "Rocky Horror Picture Show" reject Leviathan (Daryl Wilcher) and his ramshackle misfit coven: floppy haired Goth boy Gideon (Adam Morris), dreadlocked priestess Vascara (Tracy Yarkoni) and fearsome, lumbering psycho man-boy, Samuel (Barry Bishop). For no given reason, they force Melissa into their car and whisk her away to be impregnated by a Satan possessed Leviathan during a planned midnight Satanic ritual which is to culminate in her giving birth to the Antichrist! Bobby Ray is joined by his right wing patrol-man brother, Fasmagger (first seen gleefully executing a hapless roadside commuter) and bumbling Cooters manager Max (JimmyLee Smith) to form an unlikely and, frankly, unlikable bunch of crusaders for Jesus who are all too eager to kick some Satanic butt — stopping off first at the local tattoo parlour (all Satanists have tattoos, after all!) where Fasmagger tortures the proprietor by ripping out his lip piercings with a pair of pliers until he tells them the location of the Satan worshipers' secret hideout. They arrive just in time to disrupt the ritual, which has already begun with Melissa being bound and gagged and spread-eagled on a floor marked out with a chalked pentagram, while the head of the Satanist coven prepares to ravage her. The trio's attempt at an action hero-style rescue, results in the spirit of the Devil leaving Leviathan and finding its way instead into the sacrificial chicken, which was originally to have been used in the ritual. Fasmagger's lethal electric cattle prod (de rigour issue for a modern police officer!) comes in handy for subduing the quartet of Satan worshippers, Leviathan even renouncing his dark master when he thinks the game is up. However, the murderous chicken takes control of events and starts pecking out the eyes of Melissa's rescuers, beginning with Max, allowing Vascara to stage a coup of the Satanist group and, in a weirdly furnished kitchen with children's paintings on the wall, have the treacherous Leviathan tied to a kitchen table decorated with a collage of porno snaps (?!) where the devil zombie chicken is encouraged to peck out his guts as an offering, all the while refusing the offer of Vascara's womb as a replacement receptacle for the nascent Antichrist, in favour of thrusting its head into a restrained Melissa's plentiful cleavage instead!
The sight of a rudimentary blood-soaked stuffed chicken puppet being manipulated by hand off frame is funny for about two seconds, and after this palls, writer-director Drog wisely does the obvious thing and has all of the previously pecked-to-death chicken victims return as reanimated zombies (one of them trips over his own entrails, at one point!) which have to be hacked to pieces all over again by the axe wielding lone survivor, Melissa, in a final twenty minute slaughter-fest full of crude digitally rendered decapitations and other assorted limb removals. There is, at one point, the suggestion that Vascara will have to have sex with the chicken in order to bring about the mooted birth of the Antichrist, and if this was a Troma film that scenario would certainly have been exploited for all it was worth; but here it eventually happens off screen, in the back of a hearse. The rancid Devil foetus that eventually emerges from her distended tummy is disposed of with unusually explicit glee though. The film's scant seventy minute running time is closer to just sixty minutes once you subtract the extended end credit titles which are padded with blopper material, yet the film feels a lot longer, and by the time we are confronted with the promise of "Zombeak 2" at the very end, patience is most definitely wanting.
MVM release "Zombeak" in a cheap £5.99 edition (it will almost certainly be available much more cheaply online) with a set of trailers for other low budget indie offerings such as the previously reviewed "Mr Halloween" and "Doctor Chopper".