robertsrebecca-76703 I don't remember much about society, but I do remember some strange and bizarre scenes including an absolutely surreal ending in which an entire bunch of 50 odd people indulge in a cannibalistic orgy! If it sounds strange watching it was even more so. The director and lead actors are all but forgotten today but this film stands the test of time- although not many people know about it. I suggest you give this one a change and see if you can like it.

Pozdnyshev They made some movies with serious balls in the eighties, man. And this is one of them.The movie's basically a vicious, over-the-top satire of what I think many people are afraid is secretly going on with those at the top tiers of society: a covert culture of unimaginable depravity, perversity, exploitation, and soul-annihilating sociopathy. Kind of like Eyes Wide Shut. And that this Hell on earth going on behind the facade of these majestic mansions is, in some mysterious alchemical way, what keeps them on top.The plot is driven by this popular kid from an expensive Beverly Hills neighborhood who is obsessed with his fear that everyone in his life is not what they seem. And based on what we see, this actually looks like it's true: his family is wooden and distant, and all his "friends" appear to regard him with veiled contempt -- except the two whom his parents openly dislike, of course.After a series of events which gradually make his world seem more suspicious, it turns out that he was adopted into this family for the sole purpose of being a human sacrifice at one of their parties.After witnessing one of his friends basically getting turned into a tapestry of mangled flesh, and witnessing bizarre body mutations, he escapes with the help of his other friend -- which seems a bit unlikely, given how cunning and powerful that "Society" was portrayed as being. But I guess they needed to tack on a happy ending.But damn, though -- the movie symbolically taps into a LOT of effed-up things that one's innermost heart fears is going on in secret.Like his high school debate for class president. What appeared at first to be the unpopular nerd vs. the popular athlete was really a fixed game where both sides were completely controlled by the same force... Like how I feel about every presidential election.Or the fact that in the end, which one of his friends gets "sacrificed?" The relatively fat and unattractive one. It makes you think. Why do I just accept that as a movie cliché? Are we, on some level, just like the awful Society that frivolously ruins and desecrates whom they regard as "inferior"? Would we enjoy doing the same if we were born into such a high caste? Is this Society, at the end of the day, just the natural order of things? very disquieting.Another symbol that I think most only see the surface of are the surreal body mutations. In the end, the part where the protagonist witnesses his poor friend (who happens to be Jewish... not sure what that means) gets turned into a huge elastic abomination while getting fisted and eaten. It's not just weird, man, it MEANS something. It could be: -hallucinations brought on by the trauma of seeing your friend get murdered -and this is the scariest thing: it's simply the closest visual metaphor we can get for the unimaginably, appallingly sadistic thing they do to people as part of their ritual. I think it's something like eating their soul, not just raping someone but forcing your way into their deepest being and chewing it up like a damned wad of bubblegum before discarding it, leaving the person an utterly devastated wreck.That's some ballsy sh*t, man. And SCARY. There's like, more going on in the heavens and the earth than we know. Some genius said that once. I appreciate this movie for being the few that makes me feel that way.

Mr_Ectoplasma Brian Yuzna's film debut has Billy Warlock as Bill Whitney, the youngest son of a wealthy Beverly Hills family who has felt a sense of displacement his entire life. His parents pay him little attention, doting on his débutante sister and lounging in their sprawling California mansion. After a classmate brings to Bill's attention the macabre nature of his family dynamics, it becomes clear that the high society whose fringes he lives on is much more disturbing than anyone could imagine."Society" is an oft-discussed film in the horror genre that has been opened to a contemporary audience with its recent release on Blu-ray (a scant DVD was released over a decade ago). While it can't be said for many older films that are revived in contemporary technology, I do think "Society" is a standout for fans of bizarre cinema and is worthy of modern audiences' attention, if for no other reason than its biting social commentary.Narratively, the film is a candid and no-nonsense satire on the underworld of high society, and these themes are played with in funny, creepy, and grotesque ways throughout. The film begins in the haze of late eighties L.A. and is peppered with brief, bizarre sequences, before propelling into the territory of paranoid thrillers and outright monster flicks, ending in one of the most infamous and repulsive "sex" scenes ever filmed. Jaw-dropping special effects come into full bloom in the finale, which are simultaneously silly and utterly gag-worthy. A solid performance from the dashing Billy Warlock (donning some "Full House"-era John Stamos hair) helps hold the film together, and the support from Devin DeVasquez as the sympathetic rich girl and Evan Richards as the wingman is great.Overall, "Society" is everything it claims to be, and Yuzna draws on extremes to illustrate the sickly indulgence of high society as (literally) an amalgamative blob of vice, incest, and hedonism. It's funny, it's grotesque, and, more importantly, it's one of the most inventive and memorable horror flicks of the late eighties. 9/10.

chaos-rampant 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.