A mysterious meteor infected with a deadly alien plague brings chaos to a small hunting town in the feature-length directorial debut of screenwriter James Gunn (Scooby-Doo, Dawn of the Dead). Booted out of bed by his young, trophy-wife Starla (Elizabeth Banks), and in desperate need of some female companionship, wealthy Grant Grant (Michael Rooker) picks up bar local floozy Brenda (Brenda James) and heads into the woods for a hedonistic night of extramarital excitement. When a flaming meteor lights up the sky before crashing to the ground nearby, Grant's curiosity gets the best of him and he sets out to find the space rock. Subsequently infected with a rampaging space virus, which he passes along to Brenda, Grant transforms into a horrific, cow-munching monster and begins terrorizing the town. As thousands of squirmy space slugs burrow into the brains of the unsuspecting Wheelsy denizens creating an ever-amassing horde of mindless space zombies, panic grips the small town and it's up to Starla, Sheriff Bill Pardy (Nathan Fillion), and gung-ho mayor Jack MacReady (Gregg Henry) to put an end to the infection and save the planet. ~ Jason Buchanan, RoviRelease Date Slither Mar 31, 2006 Wide
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Actors For Slither
Nathan Fillion,Elizabeth Banks,Michael Rooker,Gregg Henry,Tania Saulnier,Brenda James,Don Thompson,Dustin Milligan,Haig Sutherland,Jenna Fischer,Jennifer Copping,Lorena GaleGenres Slither : Horror,Science Fiction & Fantasy,Comedy
Visitor Ranting & Critics For Slither
User Ranting Slither : 3.2User Percentage For Slither : 62 %
User Count Like for Slither : 100,677
All Critics Ranting For Slither : 6.9
All Critics Count For Slither : 136
All Critics Percentage For Slither : 86 %
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Movie Overview For Slither
A small town is taken over by an alien plague, turning residents into zombies and all forms of mutant monsters.TagLine Slither
Horror Has A New FaceTrailer For Slither
Review For Slither
Gross-out horror comedy is my least favorite genre, but this movie's so skillful I have to take my hat off to it.Jonathan Rosenbaum-Chicago Reader
A monstrously funny alien-invasion-zombie-horror-comedy.
-Time Out
I'm zombied out.
Richard Roeper-Ebert & Roeper
[A] delightfully disgusting comic horror film.
Bruce Diones-New Yorker
The problem with making a smart horror parody -- and James Gunn's Slither is a smart horror parody -- is that it's kind of like doing a virtuoso performance of 'My Way.' The skill of execution tends to be eclipsed by the tedium of the material.
Geoff Pevere-Toronto Star
Slither is a movie only true horror buffs can love. Its greatest strength is that it never aspires to be anything more than it is: 96 minutes of good laughs and retro-splatter.
Jeff Shannon-Seattle Times
Amiably retro in its icky shock value, this love story with an alien twist is often so funny it's scary.
Alan Jones-Radio Times
Derivative, glib, throwaway, and thoroughly entertaining. A knowing genre movie aimed at fans of Tremors or Lake Placid.
-Total Film
Done with a knowing wink and a nod, Slither doesn't offer much in the way of scares, but makes up for it in laughs and decent banter and a number of well executed gross out moments.
Joshua Starnes-ComingSoon.net
An underappreciated gem that horror fans would appreciate.
James O'Ehley-Sci-Fi Movie Page
Zombies, aliens, comedy, gore, what more can you ask for?
Felix Vasquez Jr.-Cinema Crazed
[A] pleasing B-level gore fest.
Tom Meek-Boston Phoenix
If there were still drive-in cinemas around, "Slither" would be a perfect B horror movie to sit in your car and watch to the sound of shrieks and one-liner jokes blasting around a hilly parking lot from so many tiny speakers.
Cole Smithey-ColeSmithey.com
It wows us with the expertise way Gunn has in how he handles the creepy hokum and keeps a good balance between the chills and the laughs.
Dennis Schwartz-Ozus' World Movie Reviews
Gunn makes this horror-com his own.
Brian Marder-Hollywood.com
Gunn's film is masses of nostalgic fun if you grew up with body horror of the 1980s. And just plain gross fun if you didn't.
Daniel Etherington-Film4
Slither is a monster movie with a wry smile on its face, where (thankfully) the gruesome effects, rather than the humour, tend towards full on gross out.
Anton Bitel-Eye for Film
Slither is over-the-top, gross, funny, bizarre and totally weird. In other words, it might be just what you're looking for this weekend.
Brian Tallerico-UGO
A pretty fun movie that makes good on laughs and gory gross-outs.
Jeffrey Chen-Window to the Movies
Unlike the current concept of over the top bloodletting that thinks the sequence is more important than the sluice, this inspired auteur gets his groovy grue just right.
Bill Gibron-PopMatters
Passatempo descartável que não funciona sequer como comédia, sátira ou homenagem às ficções B.
Pablo Villaca-Cinema em Cena
Here's a review that not only benefits from, but requires, words like giant squid, festering blob and tummy tentacles.
Michael Clawson-West Valley View
It's refreshing to see a movie like Slither, which has obviously been made by someone with a deep affection for the glory gory days of American horror comedy.
Ethan Alter-Film Journal International
There's enough material in that scene for a whole conference of psychologists, but I couldn't stop to figure it all out. I was too busy laughing.
Paul Byrnes-Sydney Morning Herald
Movie Images Slither
How to Survive a Plague is the story of two coalitions-ACT UP and TAG (Treatment Action Group)-whose activism and innovation turned AIDS from a death sentence into a manageable condition. Despite having no scientific training, these self-made activists infiltrated the pharmaceutical industry and helped identify promising new drugs, moving them from experimental trials to patients in record time. With unfettered access to a treasure trove of never-before-seen archival footage from the 1980s and '90s, filmmaker David France puts the viewer smack in the middle of the controversial actions, the heated meetings, the heartbreaking failures, and the exultant breakthroughs of heroes in the making. -- (C) Official Site
In 1994, the British Film Institute commissioned a set of films to mark the centenary of the movies. They would trace the history of several national cinemas, and the BFI's choice for interpreting the history of American film fell to director Martin Scorsese, a longtime champion of film history and preservation. Scorsese's approach to his subject is director-centered, as he examines the tension inherent in the struggle of an artist wishing to make a personal statement against the collaborative nature of films and the commercial pressures of the Hollywood moviemaking factory. Segments of this series are devoted to the director as storyteller (examining narrative devices in the Western, gangster film, and musical), illusionist (technical tricks), smuggler (imbedding personal messages), and iconoclast (bucking the system to make films his own way). The series is replete with telling clips, not just snippets or shots, but entire scenes which illustrate Scorsese and co-director Michael Henry Wilson's points. Other filmmakers, including John Ford, Francis Ford Coppola, Billy Wilder, and Orson Welles, are seen in archival footage or interviews created for the series, offering their own take on the art of filmmaking. Scorsese doesn't discriminate between filmmakers with glossy reputations and those who always worked on the fringe of public awareness. If anything, he goes out of his way to champion mavericks like Samuel Fuller whose "visceral cinema" never enjoyed box-office success or awards. Personal Journey was first shown on British TV, released in limited fashion to theaters in the United States, and shown here on TV as well. A tie-in book was published in 1997 by Miramax Books; it contains the entire script for the series, excellent black-and-white stills, and dialogue from some of the clips. ~ Tom Wiener, Rovi
The sublime Barbara Sukowa reteams with director Margarethe von Trotta (Vision, Rosa Luxemburg) for her brilliant new biopic of influential German-Jewish philosopher and political theorist Hannah Arendt. Arendt's reporting on the 1961 trial of ex-Nazi Adolf Eichmann in The New Yorker-controversial both for her portrayal of Eichmann and the Jewish councils-introduced her now-famous concept of the "Banality of Evil." Using footage from the actual Eichmann trial and weaving a narrative that spans three countries, von Trotta beautifully turns the often invisible passion of thought into immersive, dramatic cinema. An Official Selection at the Toronto International and New York Jewish Film Festivals, Hannah Arendt also co-stars Klaus Pohl as philosopher Martin Heidegger, Nicolas Woodeson as New Yorker editor William Shawn, and two-time Oscar Nominee Janet McTeer (Albert Nobbs) as novelist Mary McCarthy. (c) Zeitgeist
As one of the defining stories of the wuxia genre, the saga of the Dragon Gate Inn has already been the source material for two classic martial arts films. Now legendary writer/director/producer Tsui Hark revisits these legends in The Flying Swords of Dragon Gate bringing new characters and ancient conflicts to life through the vivid depth of 3D and the epic scale of the IMAX image. The film picks up three years after the disappearance of the enigmatic innkeeper Jade and the massive fire that consumed the Inn. A new Dragon Inn has risen from the ashes, staffed by a band of marauders. Masquerading as law-abiding citizens by day, they use the cover of night to continue their true calling as fortune hunters. For legend says that the Dragon Inn is the site of a lost city buried in the desert--and a treasure that spans dynasties hidden deep within. -- (C) Indomina
Merida is a skilled archer and impetuous daughter of King Fergus (Billy Connolly) and Queen Elinor (Emma Thompson). Determined to carve her own path in life, Merida defies an age-old custom sacred to the uproarious lords of the land: massive Lord MacGuffin (Kevin McKidd), surly Lord Macintosh (Craig Ferguson) and cantankerous Lord Dingwall (Robbie Coltrane). Merida's actions inadvertently unleash chaos and fury in the kingdom, and when she turns to an eccentric old Witch (Julie Walters) for help, she is granted an ill-fated wish. The ensuing peril forces Merida to discover the meaning of true bravery in order to undo a beastly curse before it's too late. -- (C) Disney
