The Wisdom Of Crocodiles

*Originally written in 2003

Decapitated Zombie Vampire Bloodbath: #101: The Wisdom of ...

A moving, beautifully told, and original vampire movie, and one which has vanished into the unknown. Jude Law, probably in his best performance, is a modern day vampire. Naturally, this being a modern movie which strives to be original, Law’s character has few of the vampire traits we would recognise; he can live in sunlight, crucifixes hold no power over him, he cannot transform into other animals, he does not have fangs. However, he is semi-immortal, and must drink human blood to survive. Indeed, it is this fact which drives the story, and it is a tragedy rather than a horror. With great acting, beautiful and subtle camera-work, a touching story and a fitting soundtrack, The Wisdom of Crocodiles bears all the markings of a good movie; unfortunately it is little known, and of course has flaws which likely hindered it from becoming more widely seen.

Law is Stephen, an attractive, clever, charming young man who happens to be a vampire. In his quest for the ‘perfect’ woman who can save him from his torturous life, a strong woman with the ability to love him, literally changing her blood. All the women he has found in the past have been scared of him, so he has killed them. When he does this, he takes a fang like object from them. In his desperate search for love he finds Anna, (Lowensohn) a beautiful young woman and they begin to fall for each other. She is enchanted by him, but is also cautious, and when he saves her from a gang of muggers she becomes scared. The truth soon comes out in parts, and all the while the police are interested in Stephen’s involvement in the death of his ex-girlfriend. The story builds to a suitable emotional climax, and never at any point can we predict what will happen.

The film failed at the box-office because it is very downbeat, and only features one big name star. The director is also little known, but shows immense talent and gets the best from the cast. Hoffman’s script has some of the best dialogue in years, clever, and full of metaphor and depth. It is definitely a film crying out to be rewatched as you will find something new with each viewing. There is imagery to suit the script, and Law’s charismatic performance could not have been bettered. Lowensohn is also very good, her intensity growing as she finds out more about Stephen. Of course, as a vampire movie people will expect blood and scares. Here there is little blood shed and few scenes of violence, though all are handled suitably, and of course it is not that kind of film. The cop storyline adds further depth, but for some the proceedings will be too slow. The film has its own pace, and rarely gets out of first gear, but this is the way it should be. An underrated film, but as Jude Law’s stardom rises hopefully he will not forget this, and his fans will discover it.

Let us know in the comments what you think of The Wisdom Of Crocodiles!

Knock Knock

I’ve mentioned it before on the blog, but I’ve had a love/hate relationship with Eli Roth. I love his enthusiasm, and the films he makes are generally made with love and have solid ideas driving them, but the execution is almost always lacking and he seems to give up part way through and inject unnecessary humour. I have nothing against humour in horror, but his always falls flat. Knock Knock is a remake of the notorious, yet little known 70s exploitation film Death Game – but is it a film which allows Roth’s strengths to overcome his weaknesses?

The film begins promisingly enough – Reeves is playing a wealthy husband and father who lives in a post modern glacial home. One night, while his family is out of town, two unfathomably sexy young women knock knock at his door claiming to need help finding a party. One thing leads to another and before long we are treated to a sleazy threesome. In true Bunuel style, the girls don’t seem willing, or know how to leave – all the more troubling when neighbour Colleen Camp stops by disapprovingly and when the girls destroy some artwork in the house. As matters progress, the sleaze and nonsense increase to silly levels.

Although that promising start eventually dissipates into a watered down tables turned version of Funny Games, with a lot less to say, it’s still stupidly watchable in the same way most exploitation movies are. The cast is a lot of fun, even if it is a little cringe-inducing seeing some of the things Reeves gets up to in the movie. There are many moments when the girls’ plan could have been foiled or come crumbling down, but silly contrived circumstance gets in the way. I’m not sure what precisely the film is trying to say, but it comes off as both hating men and women equally while still glamourizing the hollow and violent nature of both sides. It doesn’t come close to being a horror movie, and it’s not particularly funny to be considered a comedy – exploitation and a mish mash of genre tropes mean it’s more like a sleazy morality tale where the lesson seems to be ‘Don’t Talk To Strangers’. Still, for all its faults, its more enjoyable than a lot of the po-faced horror out there, and it’s brief enough that you’re not sacrificing much by giving it your time.

Let us know in the comments what you think of Knock Knock!


Ever since the trio of Shaun Of The Dead, Dawn Of The Dead Remake, and 28 Days Later, zombies have seen a resurgence in media that hasn’t really gone away since. We’ve had a number of big budget movies and shows, and an even larger number of low budget and indie titles. Zombieland falls into the former category, and even though I’m a self-confessed zombie and horror junkie I didn’t get around to watching it until 2017. So, how does it fare against the myriad other horror comedy crossovers?

It fairs quite well. Make no mistake – I’m no great fan of Abigail Breslin, Emma Stone, or Jesse Eisenberg but none of them managed to irritate me during the course of the movie, and everything which the cast and crew attempted, worked amicably. There are laughs, both visceral and script based, the gore isn’t overloaded so as to put of sensitive non-horror fans yet present enough and wrapped up in entertaining action to appease those who like a bit of red on them.

The story and structure is all quite tongue in cheek – both mocking and paying skewed reverence to the genre. There has been an outbreak which has led to zombies everywhere, and one geek loner is travelling through the US and surviving following his self-made rules. As any zombie fan will attest – we all have our own rules for surviving our own imagined apocalypse. Along the way he meets Woody Harrelson’s character – a piss-take composite of several prior Harrelson creations and the conniving sisters played by Stone and Breslin. Part Road movie, part Crime caper, part comedy horror, the disparate parts rarely feel like they are pulling in opposing directions and the highlights are of course the Bill Murray cameo sequence and the finale set in an Amusement Park. If you know me, you’ll know I love movies set around or involving Amusement or Theme Parks.

At the time of writing, I haven’t yet watched the sequel but based upon how much I enjoyed this one I imagine it won’t be long before I catch up to it. Let us know in the comments what you think of Zombieland!


Horror movies set in space inevitably draw comparisons to the Alien Franchise – what else is there to compare to? Jason X? Somewhere between that zenith and nadir lies everything else. It’s a sub-genre or setting which has seen some resurgence in the last decade, but one which nevertheless feels underused. I would assume the very nature of the setting would send budgets skyrocketing. Pandorum is somewhere closer to Event Horizon on the scale and like that 90’s cult hit it raises a lot of ideas and questions, yet tends to frustrate more often than it delights.

Pandorum is a film which ultimately frustrates more than it delights. While it seems to know what it wants to be, the clashing of genres and ideas along with a few unusual choices, prevent the film from being entirely coherent and enjoyable. Starting off with the casting, we have Dennis Quaid – an everyman actor who most wouldn’t consider to be an A-Lister, but someone who has plenty of hits under his belt and is respected. Playing alongside him is Ben Foster, who I consider to be the finest actor of his generation yet seems fated to never break through to the mainstream or critical recognition he deserves. The film largely follows this pair for the bulk of the film, with a couple of curious cameos to keep things from being too stilted. Both actors carry the film well, but based on their names alone it would be difficult to pull in a huge audience.

Looking next at the story – you’d be forgiven for thinking this is an all out space horror movie, with scares, monsters, action – but it’s both more claustrophobic and appeals to the internal rather than the visceral. There is action, but it’s spread unevenly between bouts of dialogue, philosophy, and procedure – there is horror, but it’s closely knit to those moments of action. It’s part survival, part mystery, and I wasn’t convinced that the two mesh successfully. I’m fully prepared to stand in the minority on this and I know there will be plenty of dedicated fans after watching – for me, I wanted a little more tension in both the survival and action aspects. The script has a lot to say, but traps its more interesting aspects under what is ultimately an unsatisfying story more dependent on its central twist. Again, it’s difficult to see what sort of audience the film was meant to draw.

Where the film does mostly succeed is in its interior designs – the craft itself is slimy and dark, labyrinthine, and filled with endless corridors and connecting pits and crawlspaces. Director Christian Alvart does his best work in the scenes of our survivors traversing the giant ship in various fetch quests, allowing the sense of mammoth scale to collide with the ironic claustrophobia of being alone. Effects wise – it’s not a huge budget film, but both CG, practical, and make-up are good for what they could achieve.

While I don’t think the movie is ‘good’, I don’t believe it deserved the critical and commercial drubbing it received. It’s fine as a cult film and it’s strong enough that it has and should continue to find fans – at the very least it should have made back its budget, but whether or not it is deserving of the rumoured sequels or prequels I’ll leave up to you. It’s another interesting space-horror film which doesn’t hit the mark, but which is worth catching for Sci-Fi fans still hoping to fill that post-Alien, post-Pitch Black void.

Let us know in the comments what you think of Pandorum!

Street Hawk

*Originally written in 2004

Another classic Eighties TV show in the vein of Knightrider and Airwolf, Street Hawk follows the exploits of Jesse Mach – a cop who also solves crime undercover using a souped-up black motorcycle. Although only 13 episodes were made, it remains one of the best shows of its type, with plenty of action and humour. And like those other shows it also has a great soundtrack, this time by Tangerine Dream.

The pilot tells the story of Mach, a cop with a love of motorbikes who is often getting in trouble for his reckless ways. When his partner is killed by the drivers of a mysterious black van reported as part of a crime spree throughout his city, Mach seeks vengeance. However, he has been suspended from the force, and warned against revenge. When he is contacted by a rather nerdy man with a new prototype motorcycle, Mach reluctantly accepts to meet. When he sees the bike though, and hears its specs, he wants to ride it immediately. They go for a trial, and Mach loves it, though Norman the creator is edgy, geeky and doesn’t want to see the bike mistreated and ruined. The unlikely pair and the bike set out to prevent crime, while Mach looks for that Black Van.

After the pilot, the series follows the usual formula of helping those in need, while Mach tries to hide his double-life. The banter between Norm and Jesse is charming, akin to KITT and Michael, String and Dom, BA and Murdoch etc. The performances are good from the central cast, as well as from the standard weekly guests. The action is high with plenty of chases, the bike is very cool, and it is a pity the series never continued, ending on a semi-cliffhanger – unfortunate when there was, and is so much rubbish about. While some may say it is cheesy, it has its charm and remains a cult show which should be visited by all fans of eighties TV.

Let us know in the comments what you think of Street Hawk!

Bordello Of Blood

At some point in the early 90s, British terrestrial TV began showing the Tales From The Cryptkeeper cartoon. Monsters, horror, twisty gruesome stories? What more could I want from a cartoon? In truth, I don’t remember much about it now. It was my knowledge of that series though which alerted me to a Tales From The Crypt movie one night a few years later – that movie was Demon Knight. I can’t recall what I expected from it, but I do remember watching it in bed and being disappointed that it wasn’t scarier. Knowing what I do now about the whole franchise, it was foolish for me to expect anything other than a camp mixture of slapstick gore and comedy. Flash-forward a few more years and I found out that another movie had been made – Bordello Of Blood – and that it starred Corey Feldman, who I was a fan of, and Erika Eleniak who I knew from Baywatch and emerging topless from a cake. Flash-forward one final time a decade or so further and I finally had the opportunity to see Bordello Of Blood.

It’s a hoot. The film has an unexpectedly hilarious script – offensive 90’s material delivered in sardonic 1940’s PI style by Dennis Miller. I had no idea who Miller was – I had to search to find that he was a stand-up comedian – and that makes sense for is performance here. The plot isn’t important – an ancient vampire is holed up with her brethren in a brothel, trapping horny men inside for a feeding frenzy. Corey Feldman is one such horn-dog, and after a fight with his chaste older sister (Eleniak), he finds himself in the brothel. The rest of the film sees Eleniak trying to find her missing brother with the help of an asshole Private Detective (Miller), and them uncovering the centuries old vampire mystery. It’s all dumb fun, and an excuse for the cast and writers to drop as many one-liners as they can in the midst of a lot of boobs and blood.

And really, what more do you need for a late night Friday movie when you’ve had a sucky week of customers or managers or people getting all up in yo shit? Feldman doesn’t appear as much as I would  have liked – he’s really only a supporting characters in the opening and closing moments, but the parade of familiar faces is entertaining if you grew up during the decade of grunge. Chris Sarandon is back to his slimy best, and people like Phil Fondacaro, Whoopi Goldberg, Bill Sadler, and Aubrey Morris all pop up. Nowadays it seems to me that the film has an innocent charm, even though it is sleazy and offensive, but maybe I feel that way because it’s comforting discovering a 90’s movie which takes you back through the years. I wouldn’t go as far as calling it a must see for horror fans because it does fit into a nostalgic niche, and I don’t see many non-horror fans getting anything out of it beyond a series of eye rolls, but if you were a kid of the 80s or 90s and enjoy the sort of silly humour and gore which the Cryptkeeper franchise delivers, then you’re bound to get a kick out of it.

Let us know in the comments what you think of Bordello Of Blood!

The Perfection

Netflix’s The Perfection came with the usual unseemly onslaught of praise and hyperbole. ‘The most terrifying horror film since The Exorcist’ – they proclaimed. ‘It’s the greatest movie since that time you snuck downstairs and caught your parents watching Basic Instinct together – in the nudey’ – they shrieked. Settle down, dude. It’s perhaps a step up from the usual 400 films an hour Netflix has been putting out; a film about ladies, and cellos, and bus vomiting, and hand chopping, with more twists than a Shyamalan coda.

The Perfection follows Miss Noticeable Teeth 2019 – Allison Williams – a former child musical prodigy who gave up the rock star life of playing the cello, to focus on the decidedly more avant-garde life of caring for a terminally ill parent. She visits her old teachers to help them select the new her – the next big thing in the exciting world of cello fiddling – but she seems a little off. Jealous? Out for revenge? Something? Lizzie – the new prodigy seems a little vindictive two. Surprise – they’re attracted to each other and after a night of boozing get down to a little fiddling with each other. Sorry. The next day, the pair take a trip and all manner of bodily fluids hit the fan as Lizzie seems to be infected with some apocalyptic, Cronenbergian funk-fest. Is it a dream? Is Perfect Teeth up to no good? Something? Turns out, the twists and turns have only just begun – just as The Carpenters predicted.

Lets get the obvious out of the way – many of the twists are convoluted and silly, and as far as revenge plots go, I can think of at least four million easier ways to go about things – with just as much satisfaction. I guess the avenging party wanted things to be ‘perfect’. As twisty as matters do get, a lot of it is telegraphed and it does seem geared to conclude in an Audition like fashion. Luckily it’s all ridiculous enough that once you’re strapped in you’re more than likely to go along for the ride, and any misgivings you may have had are generally smoothed out by how handsomely shot the film is and how competent the cast and grew are. It’s obvious Richard Shepard has danced around the bush numerous times, and faces old and new such as Steven Webber and Logan Browning are all committed to disguising their characters’ true intentions. As a horror fan I’m pleased to say that the film does go to some visually, graphically, and mentally disturbing places – there’s nothing a seasoned horror fan won’t have seen many times, but maybe not in such a glossy way with such an artistic bent. Non seasoned fans likely will be slapped about like a fat footy fan’s belly at five pm. It is one of Netflix’s best movies and another notch on the ladder in Williams’ interesting career – but will she ever break out of the ‘untrustworthy scream queen’ trap she currently finds herself in? Something?

Let us know in the comments what you think of The Perfection!

Girls Against Boys

I know, I’m slacking with the movie reviews at the moment. Which is only shooting myself in the foot as those were always what gave me the most traffic when I started the blog. It’s just that, recently, the music posts are taking my interest and they’re much easier to write. With the music ones, I’m just listening and typing, while the movie reviews I put 5% more effort into. Of course, I’m still posting all of the lists and writing a lot in the background which is zapping my creative juices. Having said that, I do have a tonne of old movie reviews written in the early 2000s that I haven’t yet published here – they’re not the most enlightening and I can’t be arsed updating them – so catch#22 – do I bother posting them and risk ridicule, or take the time and effort to update them when I’m a lazy bugger? Having said that, I also have a load of less old album reviews which I could be posting too. For whatever reason, I just keep pumping out new crap instead of old.

Girls Against Boys then. Yes, this is a movie review for anyone who hasn’t been scared off by that unrelated intro. I’m planning to post a few more movie reviews, that’s all I’m saying. I can’t recall where I first heard about Girls Against Boys, but it had been on my radar for a few years. Starring Danielle Panabaker (possibly why it was on my radar) as Shae, a Student who is having a relationship with an older, married man. When he scorns her, she drowns her sorrows at a bar and meets colleague Lu and bunch of standard Bro scumbags. One of the scumbags doesn’t take no for an answer and rapes Shae. If there’s a common thread running through the film, it’s that people are scumbags – men, women, single, married, young, old. I’m sure that’s not the intent and that the film was designed to be an empowering rape revenge feminist film, but the message is muddied to prevent it from being meaningful.

The film’s central problem doesn’t lie in the handling of the sexual assault, or the subsequent violence, but more in the handling of the two protagonists. Lu is clearly unhinged from the beginning but rather than being some powerful avenging angel, she instead devolves into a crazy white woman trope – an obsessive just as evil as the clueless men she kills, except more calculating. She comes across as someone who will attack at the merest sniff of male sexuality; yes, those she attacks are, at best assholes with boners and at worst, serial rapists, but the fact that she attacks with little provocation in some cases, and ultimately that she is revealed to want Shae for herself paints her as just another collection of tropes shoved inside an alluring body. Shae seems a little to easily led along the path of destruction – from the outside I can understand the desire for revenge, but there is little inner anguish or display of such drive or emotion. Neither actress is at fault here, rather the writing and direction – muddled when it should have been clear, and focused on violence instead of turmoil. The flawed cherry on top is the nailed on ‘shock’ ending which closes the film suggesting Shae is now the obsessed, or the possessed, even though she has no reason to be. It’s a tacky, groundless ending which serves no purpose other than to further muddy those already churning waters.

Elsewhere the movie works. As mentioned, the two leads are captivating while the assortment of side characters play up to their roles as Type A to Type Z scumbags efficiently. There are a couple of exceptions to the scumbag rule – again no complaints with the performances, and one character does elicit a drop or two of sympathy. Director Austin Chick doesn’t dwell on the sexual assault – this is in no way in the same league as something like Revenge or I Spit On Your Grave in terms of graphic depictions or exploitation which makes the film all the more frustrating – this could have been a more powerful piece dealing with how women are viewed in society, with how such crimes are investigated or ignored, and how the victim is often made to feel guilty or forced into finding justice outside of the law. Instead it feels like Single White Female for a new generation, but without the conviction or smarts to decide what it wants to be or say.

Let us know in the comments what you think of Girls Against Boys!


Children Of The Corn


I can’t be specific on dates, but Children Of The Corn was one of the first horror movies I remember discovering. Like I mentioned in my Creepshow 2 review, posters can have a powerful effect on a growing, inquisitive, impressionable mind. Over time I somehow gained information about the story and the movie and began to form my own version of it in my head, but I didn’t get to see it until years later. There’s a danger of being let down after consciously or subconsciously hyping a movie, but where Children Of The Corn is concerned, the mystery and tone conveyed in the opening portions of the movie aligned with the picture I’d created in my mind. Watching again years later, it’s clear that there are better King adaptations and it that it has plenty of shortcomings. I still feel that it captures the essence of the unknown which juvenile and growing horror fans find so alluring, even if it doesn’t have enough bite to hold an adult audience in its thrall.

Adapted from King’s 1978 Night Shift short, Children Of The Corn is the first of (somehow) ten movies in a series which I can only assume grows increasingly <corny> as it progresses. King wrote the original screenplay, but as was normal for the time another writer would come in to usurp the script and focus more on violence than drama. The original story is a simple one – a bickering couple are driving through the US heartland, stop me if you’ve heard this one before, only to become lost and encounter a savage backwater. The key difference here being that the savages are a bunch of kids, creepy religious zealot kids who follow an unseen God known as ‘He Who Walks Behind The Rows’. The movie keeps the basics in check, albeit offering less in the way of marital distress and more in the way of heroic dads and wholesome family dynamics.

We open in pleasingly creepy fashion, as Isaac – moon-faced pre-teen leader of the group sends the crazed Malachi and friends on a poison and murder spree through their hometown, Gatlin. It’s a simple farming town, and the crops have been failing, which Isaac takes to mean their God is not pleased. And we all know how to appease an angry, malevolent God. Cut to a few years later and a ‘just about to be famous for Terminator’ Linda Hamilton (Vicky) and boyfriend Peter Horton (But) heading up river to start a new life. Driving through endless miles of nothing, their subdued fears about the future are disturbed by the sudden appearance of a child bouncing under the wheels of their car. After initially thinking they hit and killed him, they come to understand that he was already dead. The boy was trying to escape Isaac and his murderous ways, but ended up being sacrificed to the God of Buick. Should they leave him and go on their way? Should they drop the body off in a local town? Should they take him to a big city hospital, or the Police Station in local Gatlin? This being a horror movie, the pair make the wrong choice and quickly find themselves in a world of pitchforks and pasty teens.

The film isn’t as shlocky as some early King adaptations, surprising perhaps given the subject matter. Likewise, it isn’t anywhere near the level of his biggest films of the period – Carrie or The Shining. To its credit, it isn’t all silly surface scares – that sense of the unknown and of being lost permeates the atmosphere in the opening scenes and its an atmosphere which works for me personally having been a child with a heightened fear of being lost or left behind in a new place. Outside of personal feelings, the film is an obvious parable for religious fundamentalism and the dangers of allowing any cult to take power. I like this angle, as ham-fisted as it may be delivered here, and I’m sure a more dedicated experienced director and writer combo could do something stronger with the material viewed in this way. There are of course numerous departures from the source material, fleshing out the cult and delivering a less downbeat ending for example. It’s well enough shot, using the open and wide landscape to decent effect, and by and large the cast serve their purpose – all the more impressive given that many of them are kids. Hamilton doesn’t get to show off her later chops, but is more than the withering lead lady of the piece you might expect from such a film, and gets just as much screen time and action as Horton. They work well as a couple and spend much of the film apart dealing with various factions within Gatlin, again equipping themselves admirably.

Is it top tier King? No, but that’s generally reserved for his more classy material or when a classy director gets a hold of his work. But it’s serviceable enough for most viewers to get something out of it, and good enough that many King and horror fans might rank it as a second tier adaptation. In any case, in this strange time of locked doors and empty streets we find ourselves in it’s worth a watch to remind ourselves what the outdoors look like – and that what’s out there may want us for lunch.

Let us know what you think of Children Of The Corn in the comments!

The Stuff

The Stuff is another one of those movies which was just out of my reach in childhood. I was born in 1983, so many of the classic VHS titles of the 80s were familiar to me, but I couldn’t get near them until the DVD boom or today’s streaming. Thanks to a bunch of older friends and relatives, and older siblings of my friends, and thanks to be frequent jaunts into the video stores in my town, there was always a list of titles floating around my head as movies I absolutely had to see at all costs. In many cases these were movies which those acquaintances spoke of in hushed tones – everything from Basic Instinct to Evil Dead.  In mot cases it was the VHS artwork which caught my eye and solidified the movie’s position in my hallowed list. The Stuff had a great cover – some dude’s melting face, writhing in agony and despair as some sort of white gunk spilled from his empty eye sockets and mouth. Surely it was the greatest film of all time?

The Stuff  isn’t the greatest film ever made, but it is one of Larry Cohen’s best. Before I knew who he was, and before I’d seen The Stuff I was already familiar with his work. Q The Winged Serpent was a personal favourite of my youth and Return To Salem’s Lot was a curious sequel. Once I became more savvy towards film it became obvious that Cohen was somewhat of a political filmmaker – his often not too subtle satire veiled under the shlock of the time and other B Movie delights. The Stuff is no different, a clear attack on big business, advertising, consumerism, and the herd mentality of created needs and addiction. Surprisingly, it’s not the goriest film in the world – The Stuff (is it wrong that it looks delicious and I want to try it?) does frequently spurt from people but more often than not you simply see it slushing and slithering around like a gelatinous mass or worm, as it does a Body Snatchers number on whoever tastes it. Interestingly, Cohen would go on to write the story for Abel Ferrara’s 90s Body Snatchers movie.

So if it’s not overly gory, and if it has all this overt political stuff in its plot, why should the less discerning Horror viewer want to watch? Well, because Michael Moriarty. Here he is at his most smug, smarmy best – all Wall Street suits and ties, a walking ballbag of quips and testosterone who doesn’t appear to have thrown a punch in his life yet is just as efficient in a fight to the death as James Bond. His character is hired by a bunch of unsavoury Ice Cream moguls, seriously, to investigate the makers of The Stuff and find out what it is to either shut it down or share a slice of the pie. As he investigates he learns a lot more and finds his dubious allegiances tested. Along the way he meets a kid escaping from his Stuff-obsessed family, a hot executive, an old friend/rival, and a gun totin ex-military maniac. It’s like The A-Team, but weird. It’s also quite funny, and all the more amusing in retrospect thanks to the effects and how advertising works today.

As much as 80s Satires go, The Stuff is right up there with the most outlandish but effective. Cohen always makes an interesting movie and Moriarty always does whatever the hell he wants. Don’t go in, like 8 year old me did, expecting a bloody, scary, melt-fest. Go in expecting a few chuckles and some charming nostalgia and weirdness, and it gets the job done.