Main cast: Billy Warlock (William Whitney), Devin DeVasquez (Clarissa Carlyn), Evan Richards (Milo), Ben Meyerson (Ted Ferguson), Charles Lucia (Jim Whitney), Connie Danese (Nan Whitney), Patrice Jennings (Jenny Whitney), Heidi Kozak (Shauna), Ben Slack (Doctor Cleveland), David Wiley (Judge Carter), Tim Bartell (David Blanchard), and Brian Bremer (Martin Petrie)
Director: Brian Yuzna
Ah, Society! If you haven’t heard of it, let me set the stage. This is the deranged brainchild of Brian Yuzna, the man responsible for Re-Animator sequels and other questionable life choices. Partnered with Screaming Mad George, a practical effects genius who has apparently never seen a slimy nightmare he didn’t like, he gave us the movie that dared to ask: what if the upper class really *is* out to eat the rest of us? Or worse yet, absorb us in some disturbingly gelatinous way?
The result is a glorious, goopy mess of body horror that leaves you wondering how something can be both disgusting and comedic, often in the very same frame.
On its surface, Society could easily pass as an ‘80s teen sex comedy. We start off with our chiseled hero, Bill Whitney, who’s living the dream in Beverly Hills. Life is mostly good, aside from the occasional glimpse of his adoptive sister showering (awkward, yes, but it’s the ‘80s, and they loved a bit of “yikes” factor). Bill’s got all the teen drama tropes: bizarre family dynamics, a sexy but incomprehensibly perfect love interest, and a sneaking suspicion that his family’s old-money pals are up to some very bizarre activities. Spoiler alert: they are.
As things heat up, the plot dives from awkward family dinners into what might generously be called “high society” satire, although one can imagine Mr Yuzna laughing hysterically whenever someone mentions a “social message”. Ostensibly, Society critiques classism, with the elite literally feeding off the lower classes.
However, if we’re being honest, the “message” feels more like a hasty afterthought, tossed in because everyone thought horror needed to have one after Night of the Living Dead. The movie doesn’t know if it’s trying to provoke deep thoughts or just laughs, and honestly, neither do I.
What I do know is that I was entertained. The effects are gloriously bonkers, with some of the best physical transformations you’ll see in ‘80s horror. The film reaches peak gross-out with scenes where people melt and morph into each other, not unlike silly putty on a warm car dashboard. A standout moment is when someone literally becomes “the butt” of the joke, which should tell you everything about the maturity level Society is working with here. This is body horror meets slapstick, and it’s incredible.
Adding to the weird vibe, Society isn’t shy about objectifying its stars equally. Billy Warlock and Devin DeVasquez both spend a good portion of the film in various stages of undress, trying to out-skin each other. Although, let’s face it, most of the nudity here is closer to what you’d find on a regrettable trip to a nude beach. If anything, it’s a bit of equal-opportunity disappointment, appealing to precisely no one’s idea of sexy.
Then, there’s the subtle (or, well, not) homoeroticism, with an intense final scene featuring men gleefully attempting to kiss and insert their fists up each other’s rear ends. In the grand scheme of horror finales, it’s up there with the most bizarrely Freudian of them all.
So, does Society succeed in whatever grand vision it set out to achieve? Probably not. Does it make sense? Not in the slightest. But does it amuse? Without a doubt. It’s proof that teenage sex comedy and body horror can indeed coexist, though only in the twisted, sticky world of Brian Yuzna.
While it might not answer the question of what the elite really do behind closed doors, it gives you a strong visual argument that, should you ever be invited to a Beverly Hills shindig, it’s probably best to stay home.
