Reviewed by Scott A. Johnson
Starring Jennifer Bihl, Kealan Patrick Burke, Debbie Rochon, Lee Perkins
Written and directed by Gregory Lamberson
Way back in 1988 a young filmmaker unleashed a film that would become a cult classic upon the world. That film, Slime City, was the story of a man possessed by the spirit of a dead cult leader by way of eating a colorful slime (which he thinks is yogurt) and drinking a psychotropic wine. In the process he turns into a murderous, slime-dripping monster. Now, twenty-two years later, Gregory Lamberson revisits his classic with a sequel, Slime City Massacre.
In the sequel New York City has been hit with a “dirty bomb” that wiped out most of the population (including Lloyd Kaufman). In the aftermath refugees and squatters attempt to survive in a dangerous, post-apocalyptic world. Four of them stumble upon the old soup kitchen of Zachary Devon, the cultist from the original movie who committed ritual suicide with his followers so that he could live again in pilfered bodies. Of course, they also find jars of “yogurt” and bottles of Zachary’s special wine. Since food is scarce, they dig in, and the fun begins with each becoming a Technicolor slime-coated monstrosity.
In reviewing a sequel, it’s important to compare it to the original and answer questions about whether or not the source material was respected and did it serve to move the mythos forward. So let’s look at a few key points. First, the acting is far superior to that of the original. Gone are the actors who smirked their way through their lines and over-emoted. Actresses Jennifer Bihl and Debbie Rochon play their parts seriously and with conviction. Lee Perkins comes across as believable and likable, even when he’s dripping with blue slime and giving someone bottle-eyes (trust me). Author Kealan Patrick Burke turns in an impressive performance, proving that he is a renaissance man just as comfortable in front of the camera as he is behind a keyboard.
Similarly, the direction and camera work show that Lamberson has evolved as a director with real style and substance. The story itself takes its main plot points from the original and doesn’t seek to re-imagine anything but uses what was already established as a springboard, which is how it should be done. SCM makes reference to the canon of its predecessor as well as other cult classics like Basket Case, The Stuff, and Street Trash, which shows a real respect and love for the genre. The effects are much more impressive, although the budget for them was tight, which is a real credit to the creative abilities of Rod Durick, Andrew Lavin, Craig Lindberg, John Renna, R.J. Sevin, and Arick Szymecki. Even the music packs a more powerful punch, sounding more like rock and roll and less like softcore porn tracks. What brings this movie together, though, is the heart that all the cast and crew put into it.
So the real question that needs to be asked is: Is it good? Happily, I can answer that yes, it is. No, I’m not saying it’ll be up for an Oscar any time soon (though I would love to see a “Best B-Movie” category at the Academy Awards….SCM would be a shoo-in), but it is genuinely entertaining. It’s the kind of movie to watch with rowdy friends and beer. Lots of beer. However, it should be noted that this is the kind of movie that could also inspire yogurt-fueled food fights and several moments of cringe-induced laughter (witness Debbie Rochon with a giant vagina in her chest, which bites some guy’s head off, and try not to laugh/shout…I dare you). In all, this movie is worth staying up late for. It’s slime-coated brain candy and just a whole lot of ooze-dripping fun.
4 out of 5
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