A delicious, mysterious goo that oozes from the earth is marketed as the newest dessert sensation, but the tasty treat rots more than teeth when zombie-like snackers who only want to consume more of the strange substance at any cost begin infesting the world.
NYPD detectives Shepard and Powell are working on a bizarre case of a ritualistic Aztec murder. Meanwhile, something big is attacking people of New York and only greedy small time crook Jimmy Quinn knows where its lair is.
One morning, a young man wakes to find that a small, disgusting creature has attached itself to the base of his brain stem. The creature gives him a euphoric state of happiness but demands human victims in return.
A group of young shopping mall employees stay behind for a late night party in one of the stores. When the mall goes on lock-down before they can get out, the robot security system malfunctions, and goes on a killing spree.
Remake of the 1958 sci-fi horror classic about a deadly blob from another planet which consumes everything in its path. Teenagers attempt without success to warn the townspeople, who refuse to take them seriously.
Donovan Leitch Jr.
When a mysterious, green, gooey but delicious substance begins oozing from the earth's surface, it makes a great new dessert product but this new dessert has a sinister origin: it's a supernatural entity that takes over its victims mind while making them crave more of itWritten by
The original cut of the film was said to be much longer and described by Director Larry Cohen as more "dense and sophisticated". Feeling that the film was too long, it was cut to increase the pace of the film. There was a romantic scene between Moriarty and Marcovicci that took place in a hotel room in the original cut. See more »
After Moe and Nicole get off the jet plane, they leave in a car with two executives. As the car drives away, you can briefly see the camera's shadow on the car (on the left side of the screen). See more »
You scream. I scream. We all scream for 'The Stuff'?!
A workman discovers some mushy white foam at an petroleum refinery in Alaska, and he gets the urge to try it and surprisingly it's tastes really good. Soon enough, it's a top-selling American dessert product known as "The Stuff" and everyone just can't seem to get enough of it. Industrial saboteur Moe Rutherford is hired by some rival companies to dig up information on "The Stuff" and he learns that it strangely got by FDA tests with those who passed it disappearing. Moe with the help of Nicole the advertising designer for 'The Stuff ' and a young boy Jason, whose family became obsessed with the deadly substance. Discover that the addictive dessert is actually alive and taking over the body of whoever eats it.
Yummy! For those looking for some tasty schlock that's low in calories and is a complete throwback to 1950's Sci-Fi horror. Larry Cohen's "The Stuff" definitely leaves a sweet taste in your mouth. Despite it's familiarity with the likes of "The Blob" and "The Invasion of the Body Snatchers", the neat premise still manages to feel fresh, sharp and ambitious, because of the unpretentious fun that's generated. All of this shows up in Cohen's enthusiastically accomplished direction and ace timing, where his off-the-rocker style shines immensely. Like most of his films, the playfully witty script digs deep into a social commentary and the flavour of the month happened to be consumerism and it's grip on society. The irony suggested ending, paints it perfectly. Not all of it is light and goofball in tone, as there are some dark, moody and gooey inclusions to the fold. There's a heavy cartoon-like atmosphere cooked up within a few striking images of creepiness and the deliciously campy special effects are well staged for such a low-budget production. Pacing is judge accordingly to pull you in. Cinematographer Paul Gickleman fluidly shot the film and the lively music score by Dwight Dixon ticks along fittingly. Cohen also pens the colourful story, which is terribly fractured with vagueness and continuity problems, but it's quirky maniac humour, zany developments with a surprise or two and satire frame of mind goes a long way to covering that problem up. The fruity performances are acceptably apt to what's happening on screen. The always interesting performer Michael Moriarty is wickedly good as the smarting, downbeat industrial spy Moe Rutherford. Paul Sorvino provides some amusing comic relief as an high strung, off-the-boil right-wing Colonel. Andrea Marcovicci, Garrett Morris, Danny O'Neal, Patrick O'Neal, Scott Bloom and Cohen regular James Dixon give splendid support too.
Even with some lapses within the story (due to probably the editing) and it being one of his lesser features, it's hard not to be infatuated by Cohen's outrageously delightful and creative treat for the taste buds.
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