Society

Here's a reasonably funny slime-fest from producer/director Brian Yuzna of Re-Animator fame. It makes one nostalgic for the 80's thriller cinema, when a low-budget exploiter like this was commonplace, instead of the middle-brow crapola that passes for a fright flick these days. The latex-and-slime special effects are effectively old school and quite memorable. Enjoy.

Society (1989) is a movie that I recently watched on Shudder. The storyline follows a young man who notices his family and siblings are odd, more odd than usual. He also feels his girlfriend is acting peculiar and is obsessed with attending a socially elite party. As events of the upcoming weekend unfold the young man investigates the party where he finds his parents, his girlfriend and so many others he grew up with have a strange secret that may mean the end of his existence.

This movie is directed by Brian Yuzna (Beyond Reanimator) and stars Billy Warlock (Halloween II), Evan Richards (Twilight Zone: The Movie), Patrice Jennings (Growing Pains), Brian Bremer (Pumpkinhead) and Heidi Kozak Haddad (Slumber Party Massacre).

There's a lot to like about this movie...and most of it is at the very end. The apple opening was a bit gross. The acting and writing is average to above average until the final sequence. Then the special effects, concept and circumstances come full circle and it's a mix of shocking, tremendous gore and unreal circumstances you could never imagine. There's some classic 80s nudity and the "There's no business like show business" line always cracks me up. I may have said this already...but the ending is a lot. 😂

Overall, this is an underrated classic within the horror genre that is an absolutely must see. I would score this an 8.5-9/10 and strongly recommend it.

Bill Whitney is a teenager who feels he doesn't fit in with his upper-class family. He thinks they might be hiding something evil, and though he attends therapy, it doesn't assuage his fears. One day Bill sees a strange vision of his sister transforming into a grotesque creature and- after her ex-boyfriend David gives him a cassette that seems to confirm his suspicions- he is determined to get to the bottom of whatever is going on. After David is murdered, Bill is thrust into a race against time, battling a force more powerful and monstrous than he could have ever imagined.

Directed by Brian Yuzna- who wrote 'Honey, I Shrunk the Kids'- and written by Zeph E. Daniel and Rick Fry, 'Society' is a fiendishly dark satire about the class system, containing make-up effects that rival those in John Carpenter's 'The Thing'. A bizarre, eerie journey into the hidden world of the rich and powerful, it draws inspiration from other cult classics, such as David Cronenberg's 'Videodrome' or David Lynch's 'Blue Velvet'. The narrative- though cliched in places- explores interesting themes, among them the corruption of the elite and the alienation of the outsider. Its thesis is that the rich- quite literally- feed off the poor, which is a common enough trope; though Yuzna makes good use of it.

The film has a comedic edge, and is full of fantastical body horror, as disturbing as it is inventive. The special effects and make-up from Joji Tani- known professionally as Screaming Mad George- are truly out of this world. In the latter half especially, Tani's bizarre and brilliant work is on full display, and could be seen as the real star of the show. His clever and creative effects make the film- which suffers from having a bloated first half, laden down with an unnecessary romantic sub-plot- unsettlingly unforgettable.

Matthew C. Jacobs's production design and Kelle DeForrest's art direction are similarly inspired, poking fun at the bourgeois, with their perfectly trimmed lawns and gaudy home furnishings. Additionally, Mark Ryder and Phil Davies's ironic soundtrack adds to the film's elements of parody, mocking the clichés and conventions of horror films. Furthermore, Rick Fichter's dynamic cinematography creates a contrast between the bright world of the upper class and the dark, gloomy one of the lower classes. He utilises shadows and lighting to great effect, juxtaposing the colourful with the dull, adding to the film's themes and overall message.

'Society' finds Billy Warlock starring as Bill Whitney, alongside Tim Bartell as David, Patrice Jennings as Bill's sister Jenny and Devin DeVasquez as his love interest, the mysterious Clarissa. Warlock possesses the same boyish charm that Michael J. Fox had, and delivers a witty, charismatic performance of no vanity. He endears himself to the audience immediately, and portrays Bill's confusion, fear, and anger with aplomb, as he delves deeper into a nightmare of paranoia and betrayal.

His supporting cast are a bit of a mixed bag, thanks in large part to Fry and Daniel's scant secondary characterisation. Bartell and Jennings do decent work, though it's not much to write home about. DeVasquez is a little wooden, and doesn't have much chemistry with Warlock, while Ben Meyerson's over-the-top performance as Bill's nemesis Ted Ferguson is simply irritating. The real stand out is David Wiley, in the all too small role of Judge Carter. Menacing and slimy, his work lingers in the mind long after the credits have rolled.

In closing, Brian Yuzna's 'Society' is a memorable movie, though it is far from perfect. The narrative is peppered with unnecessary sub-plots and cliches, while screenwriters Fry and Daniel's secondary characterisation leaves a lot to be desired. Conversely, its satire works well, and most of the humour lands. Moreover, the special effects from Screaming Mad George are captivatingly creepy and hard to forget, while star Billy Warlock's central performance is engaging and commendable. The production design is of a high quality, and, though 'Society' has its problems; it is definitely worth a watch for fans of the grotesque and macabre.

Billy Whitney is a troubled kid who's seeing a shrink because of his fear of loved ones and those that are close, which he has a hard time fitting in with his wealthy family as he feels he doesn't belong with them. He's also a student at Beverly Hills Academy who's running for president and is dating the head cheerleader, so things aren't all bad. Although things suddenly change for the worse when Billy's Sister's ex-boyfriend convinces him there's something strange about his family. Now Billy gets pulled into a very frightening world that's filled with surreal images and where the paranoia is finally tearing him apart. But what's to come for Billy will be more shocking than what he can comprehend.

After watching a horror-mystery the day before I decided to put my teeth into another, Yuzna's 'Society'. You'll think that Society comes across as usual pure 80's trash in the very cheesy kind. And it does look like that and actually descends into that pattern. But firstly the way it started off you might think otherwise, as it does open proceedings rather eerily with an tight prologue and then a haunting tune through the opening credits, but soon it takes a real sharp turn from its beginning and heads into familiar 80's horror territory, with the usual corny dialogue, gratuitous nudity, camp performances and over-the-top humour. Although when it comes to the final 20 minutes or so, you totally are blown off your feet and possibly are in a state of bemusement. During this stage it turns disturbing and rather disgusting, while there's classical music streaming along. I know that I was left with a bewildered impression on my face and I would be surprised if you don't get the same feeling too. Meaning it's a good idea to make sure your not eating when coming up towards the film's perverted climax.

The odd but fun story does play out like a teen flick with nice amount of mystery and yep I say it, satire. This story has more to it and that shows in the hidden agendas and subtle dialog that all seems to come together perfectly. On a second viewing you would easily pick up on these hints within the script. You got your sick in-jokes, lame pun and plain wicked tone. Back onto the satire now, which this story is an allegory on the rich looking down on the less privilege and finally screwing over the poor. These amusing pot-attacks are scattered across the story, while also worked into the mystery side of the story with Billy trying to figure what's going on and what's this 'society' is. Some moments you see have you contemplating if what he sees is a figment of his imagination. The reason why you question this is because his seeing a shrink so is it just in his head or is this nightmare for real. This is presented in a very good manner and that's because of the man behind the camera.

Brian Yuzna who produced the great 'Re-animator (1985)' makes his directorial debut here and does an extraordinary job. No real atmosphere is generated, but he paces it with such elasticity that there's no labouring about and he ups the suspense with assured handling and control. The humour and horror balance is a bit uneven, at times it felt oddly out of place, but it doesn't destroy the fun mood. Camera placement is rather sharp and well executed, with a nice eye for shots and moods. Going with it all is a likable heroine played by Billy Warlock from 'Bay watch' fame. While, the rest of the acting is nothing out of the norm for a film like this. Everyone was effective in their parts and contributed to the enjoyment that followed. The production is incredibly slick and that's evident by the locations and Screaming Mad George's mind-blowing special effects. Those messed up effects that come out of the blue are what makes this film memorable in its inevitable outcome!

There's nothing really creepy about this real jokey 80's horror flick, but when it gets to the ending credits you'll be left with one real lasting impression… I assure you!

Parts Blue Velvet and Videodrome, parts Repo Man and Braindead, this thing rocks and is surely one of the cult classics from the decade that you just have to see (forget The Warriors).

The 80's had a strange resonance. It seemed as though nothing was happening, nothing beyond spending and watching TV. It was morning again in America, but a kind of peculiarly false morning as though someone had reached out with a brush and painted false skies. You couldn't even trust it was day, much less anything else. So, something had to be happening that wasn't so clear at first sight, had to. It had to be ugly, since everything looked idyllic. It couldn't be that Watergate had been exposed and that was that.

But it couldn't be a political cinema anymore either, not in a convincing manner, since the people seemed satisfied. So Taxi Driver transformed into Videodrome. Both films are about a helpless observer of a life awash with foulness, but in the second case, he's a corporate type, and he's watching a TV broadcast, a TV broadcast that reveals something malicious in the airwaves that transmit reality that is just gnarly and insane beyond belief. Both films perceptively suggest the damage is in the retina of the mind's eye, and that damage is not a simple madness: the images madden.

This is much less strategic, of course. It was made near the end of the decade, so with enough hindsight to pass around buckets of paranoid blame. The satire is screamingly obvious, because who'd believe something so simple anyway, a conspiracy so pervasive, so blatantly evil, which is the clever little device used here: the film delivers subversive blows in the same channel as the people consumed reality on TV, the channel that played soap opera and assured life was something like it.

Watching the rich and privileged for weeks on end engage with utmost seriousness in lachrimose trifles about sex and power, is rendered here as a kind of goofy, since it was a TV lifestyle, malevolent conspiracy for sex and power over the viewer.

This alone would make the film required 80's viewing. It's a lot of fun, sunny, increasingly unhinged. It's strongly anchored on this end by having a famous TV star of the time in the role of the (paranoid) observer.

The icing on the cake is the unforgettable finale that parodies its own soap-operatic parody: the sexual games mockingly turn into an actual orgy for power. You get to see an actual 'butthead', among other slimy things.