Slither review – James Gunn’s Troma-style comedy horror debut gets a reboot for reputational glow-up
DC Universe supremo Gunn’s thinly conceived debut feature gets a glossy repackaging for seemingly no other reason than his later success This grotesquerie-heavy exercise in comic body horror was writer-director James Gunn’s first feature in 2006; a commercial flop at the time, it was Gunn’s crack at the big time, made long before he went on to direct the likes of the Guardians of the Galaxy franchise, the most recent iteration of Superman and take over as head honcho for the DC cinematic universe. His subsequent success (apart from that time he got briefly cancelled for ill-advised tweets) might partially explain why this early work is getting a glossy repackaging now. It’s the film industry equivalent of a reputational glow-up, as if a flawed, underwhelming early work should now be considered a misunderstood work of genius. Sadly, Slither is by no stretch of the imagination a work of genius. Its science fiction elements are thinly conceived, while the use of rubbery practical effects and lame jokes feel much closer to the work of the Troma brand where Gunn got his training wheels. The main conceit here is that an alien lifeform, whose larvae look like flaccid phallic worms with severe sunburn, crash lands on Earth via an asteroid and then proceeds to take over a small South Carolina town. The first to be possessed is Grant (Michael Rooker, a Gunn regular ever since), a good ol’ boy with a unhealthy obsession with his wife Starla (Elizabeth Banks, displaying her typically
James Gunn’s Troma-style comedy horror debut, Slither, is getting a much-needed reputation makeover. The film, which was a commercial flop when it first released in 2006, is now being revisited in the wake of Gunn’s subsequent successes, including his work on the Guardians of the Galaxy franchise, the Superman reboot, and his role as the head of the DC cinematic universe. This reevaluation of Slither seems to be driven more by Gunn’s later acclaim than any intrinsic value the film might have.
Slither is a grotesque, body horror-heavy science fiction movie that feels like an extension of the Troma brand, where Gunn honed his craft. The film’s concept is thin, and its execution relies heavily on practical effects that, while not groundbreaking, do manage to evoke a sense of unease. The story follows an alien lifeform that crashes into Earth via an asteroid, and its larvae, resembling flaccid phallic worms with severe sunburn, proceed to take over a small South Carolina town.
Grant (Michael Rooker), a good ol’ boy with an unhealthy obsession with his wife Starla (Elizabeth Banks), is the first to be possessed. Starla, who has a soft spot for the local police chief, Bill (Nathan Fillion), becomes one of the few resistant characters. As the film progresses, the townspeople are systematically penetrated by the worm larvae through various orifices. Some of the victims become evil minions, while others, like Brenda (Brenda James), transform into grotesque incubators for more larvae.
Despite its low-budget origins and campy undertones, Slither does have its moments of dark humor and effective scares. However, the film’s reliance on practical effects and its Troma-esque roots make it feel more like a training ground for Gunn’s future work rather than a standalone masterpiece. The science fiction elements are underdeveloped, and the plot is largely a pretext for showcasing the alien invasion and its gruesome consequences.
Gunn’s subsequent success in Hollywood has undoubtedly given Slither a newfound appreciation. Fans and critics are now reevaluating the film through the lens of his later achievements, potentially overlooking its flaws. This reappraisal can be seen as a reputational glow-up, where a once-overlooked or criticized work is now being celebrated for the creator’s later triumphs.
In the end, Slither remains a curiosity in Gunn’s filmography, a testament to his early career and the evolution of his style. While it may not be a work of genius, the film does offer a glimpse into the director’s unique sensibilities and his ability to blend horror with humor. For fans of Gunn’s work, Slither serves as an intriguing look into his creative beginnings, even if it doesn’t quite live up to the standards set by his later projects.
