People are voting emotionally.

If you don't like this, we can't be friends.

Great Film overall

An old-fashioned movie made with new-fashioned finesse.

I have to say I was impressed by this film, I was expecting very lame but I got an interesting erotic alien horror film instead. This one is very bizarre but it very watchable from my standpoint of view.Two beautiful lesbians, one a murderess and the other is strong but semi-naive that wants a man (a third for a love triangle) but the murderess does not want this. Along comes a man, an alien in fact, that stays with them a couple of days. The murderess, Joe, does not like him but lets Jessica keep him there for a couple of days but with no triangle! What we witness on screen makes for one of the strangest movies I've ever seen - but in a good way.There is nudity, sexual scenes and blood but actually done tastefully and it really surprised me. Good film, interesting story to go with it.8/10

The alien, who looks sort of like a cheap imitation of a werewolf, and in any other cheap horror flick, could very well be one; though, of course this is Sci-Fi. It's not a long movie, and there really isn't much action minus a sort of consensual sex scene turned rape, and mutilation by the "alien" eating her, literally. And but for the sensual yet erotic sex scene dealing with the two main female characters, which for this type of film, I actually found to be tasteful, there's really not much else going for this film. Even when the alien dresses up in drag, seemed nonchalant. A part of me wishes they delved more into the story but, eh.

I guess it will depend on your point of view. Lovers of action and mind-numbed attention deficit disorder entertainment will find ALIEN PREY slow & boring. Those who are perhaps a bit more open minded will probably find it to be slow & rewarding. Then there are deviants like myself who will consider it to be a minor miracle. Here's a movie made for maybe $100,000, with a cast of six people, mixing alien invasion angst with lesbians, cannibalism, psycho killers, cross dressing, relationship dynamics, fish-out-of-water "discovery" subplots, new age lifestyle politics, coming-of-age "awakening" dramas, cannibalism, rough sex, and gender identity issues, and yet somehow, miraculously, it manages to work.I checked the spoiler button so to cover my ass as I go for broke here describing the film, which on the surface appears to be about an alien scout sent to Earth to find out if humans make good eating. Inhabiting the form of a tall dark human male (Barry Stokes, successfully channeling the Somnabulent from CABINET OF DR. CALIGARI) chosen at random from handy passers by. He murders the only three other people in the supporting cast, eviscerates their corpses, and then takes up with a pair of lesbians living at an isolated country manor. There he embarks upon a study of humans that involves watching the ladies frolic in bed together, getting drunk, upchucking their horrid vegetarian food, and eventually eating them instead.Things get interesting when it is revealed that this lesbian couple is not exactly living in happy bliss, with a recurring motif of caged or captive animals serving as a dingwopper hint that the sullen, mousy looking older lesbian (British TV veteran Sally Faulkner) is holding the pretty outgoing younger one (poor Glory Annen, appealing even with her unshaven armpits) captive in her own house. Hints at their mutual background suggest that the older woman has committed murder at least once to keep the younger hottie to herself, displaying bipolar psychopathic behavior at the slightest hint that the young thing might want to leave. Then while searching for a change of clothes for their guest the young woman finds a phallic symbol switchblade knife that is about as big as a baseball bat, puts two & two together, and realizes that the older woman plans to kill their uninvited guest.The film then becomes a psychological drama about who'll turn to violence first: The bloodthirsty alien, the psychopathic lesbian, or the young woman yearning for her freedom from the domination she has come to resent even while enjoying the sex. There's a shotgun, a champagne fueled party that devolves into a screaming match, and for kicks the two ladies dress up the alien cannibal in an evening gown & take turns brushing up against his leg. Characters hurry from room to room throughout the movie (no doubt partly due to the ad hoc scriptwriting done on the spot during the 10 days of photography), pretending that nothing is amiss, and all the while the tension grows until it spins out of control. Director Norman J. Warren puts off the inevitable for 75 minutes of setup and unleashes his traditional assault of sex, gore, blood, and bile in the final 10 minutes, which are still mighty potent after thirty one years.Some may find it all a bit too studied but there's no question that the people who made this movie were extremely sick, twisted individuals who also had an artistic vision in mind and executed it swimmingly in the face of all reason. My advice would be not to approach this as a horror film so much as a low budget psychological domestic sex thriller that just happens to feature a gut munching cannibal who is possessed by an alien. Go figure.6/10

PREY Aspect ratio: 1.37:1Sound format: MonoA lesbian couple (Sally Faulkner and Glory Annan) living in a remote country house are driven apart by the arrival of a young man (Barry Stokes) who turns out to be a flesh-eating alien, the vanguard of a massive invasion...Despite its shoestring budget and leaden pacing, Norman J. Warren's follow-up to SATAN'S SLAVE (1976) amounts to a great deal more than the sum of its meager parts, thanks to a surprisingly complex script by Max Cuff (apparently, his only writing credit): Faulkner and Annan indulge an obsessive relationship whilst living in isolated splendor within the English countryside (rendered alternately beautiful and ominous by Derek V. Browne's eye-catching cinematography), though Annan's discovery of bloodstained clothing in an upstairs room marks one (or both) of these doe-eyed lovelies as psychologically disturbed, which may explain the absence of their respective families, some of whom appear to have lived in the house at one time or another and 'left' under mysterious circumstances. Stokes' unexpected arrival throws the relationship into disarray, partly because Faulkner has a pathological hatred of men and partly because Annan is attracted to him, creating tensions which result in a climactic whirlwind of violence. There's an extraordinary, multi-layered sequence in which Faulkner attempts to 'emasculate' their clueless visitor by dressing him in women's clothing, though Stokes' alien mentality allows him to rise above the intended mockery.In the early scenes, at least, the relationship between Faulkner and Annan is depicted with uncommon grace and dignity, but this heartfelt sapphic liaison quickly devolves into crowd-pleasing episodes of sex and pulchritude, culminating in an explosion of horror when Annan allows herself to be ravished by Stokes following a violent argument with Faulkner. The closing sequences are (quite literally) gut-wrenching, especially Annan's final scene, which appears to have been clipped for censorship reasons in 1977 and never fully restored (what remains is still pretty vivid, so brace yourselves!). Excellent performances by the three leads, bolstered by Warren's unobtrusive direction, which takes full advantage of the stunning woodland locations, thereby compensating for the film's budgetary shortcomings. Originally released in the US as ALIEN PREY.