James Gunn's inaugural feature film, the grotesque comedy horror Slither from 2006, is undergoing a surprising cinematic revival. Originally a commercial disappointment, this body horror exercise is now being repackaged and re-released, seemingly capitalising on Gunn's subsequent blockbuster success with franchises like Guardians of the Galaxy and his current role overseeing the DC Universe.
A Reputational Glow-Up for Gunn's Debut
This re-release represents what many are calling a reputational glow-up within the film industry. The timing appears directly connected to Gunn's later career achievements, including his controversial but ultimately resilient position in Hollywood following temporary cancellation over ill-advised social media posts. The implication seems to be that an early, flawed work should now be reconsidered as a misunderstood masterpiece.
Thinly Conceived Science Fiction Elements
Unfortunately, Slither falls considerably short of genius status. The science fiction premise feels thinly developed, while the practical effects—though rubbery and ambitious—and frequently lame jokes strongly recall the Troma Entertainment aesthetic where Gunn honed his early filmmaking skills. The plot centres on an alien lifeform arriving via asteroid, whose larvae resemble severely sunburned, flaccid phallic worms.
These creatures proceed to infiltrate a small South Carolina town, beginning with Grant, portrayed by Michael Rooker who would become a Gunn regular. Grant's unhealthy obsession with his wife Starla, played by Elizabeth Banks demonstrating her typically professional comic timing, sets the stage for invasion. Starla maintains lingering feelings for local police chief Bill, brought to life by Nathan Fillion.
Body Horror and Occasional Bright Spots
The invasion progresses through various bodily orifices, with townspeople either becoming evil minions or, like the unfortunate Brenda played by Brenda James, transforming into grotesquely swollen incubators for further larvae propagation. Despite these horror elements, the film contains sporadic moments of wit and amusement.
Gunn's signature technique of deploying AM-radio classics in contrapuntal fashion, which would become a hallmark of his Guardians of the Galaxy films, receives an early showcase here. A particularly gruesome killing spree unfolds against the unlikely backdrop of Air Supply's cheesy ballad Every Woman in the World. The committed cast appears fully invested in the project's eccentric vision, presumably believing their extensive hours in makeup chairs swaddled in latex were ultimately worthwhile.
Slither returns to UK cinemas from 10 April, with digital platform availability following from 1 May. This re-release invites audiences to reconsider whether Gunn's debut deserves its newfound attention or remains a curious footnote in his otherwise spectacular career trajectory.
