Larry Cohen’s The Stuff is a cult curiosity that blends body horror, B-movie absurdity, and sharp social satire into one messy, unpredictable package. The film follows David Rutherford (Michael Moriarty), an ex-FBI agent hired to investigate a mysterious new dessert craze that’s sweeping the nation. The Stuff isn’t just delicious—it’s alive, and once it takes hold of its consumers, it turns them into hollowed-out, mind-controlled husks.

On a purely visual level, The Stuff is a delightfully grotesque spectacle. The practical effects—oozing, stretching, and slithering white goo—are gloriously over-the-top, calling to mind The Blob (1958) but with an extra dose of ‘80s excess. The standout body horror moments, such as the stomach-churning sight of The Stuff bursting from its victims or taking over their bodies from within, are a testament to Cohen’s ability to deliver memorable, lo-fi carnage on a budget.

Beyond the slime and splatter, The Stuff functions as a scathing satire of consumer culture. Cohen takes aim at corporate greed, mindless marketing, and the dangers of mass-produced food products, turning a silly horror premise into a sharp critique of America’s addiction to processed goods. The film’s fictional advertising campaigns, featuring smiling families mindlessly shoveling The Stuff into their mouths, feel unsettlingly close to real-life junk food commercials. It’s an obvious but effective jab at a society that consumes without question.

However, despite its ambitious themes and inventive effects, The Stuff struggles with its execution. The pacing is uneven, the tonal shifts are jarring, and while Michael Moriarty delivers an enjoyably offbeat performance, the rest of the cast wavers between deadpan and overly cartoonish. The film’s satire is biting but often undermined by its own absurdity, making it feel more like a collection of great ideas rather than a fully cohesive horror-comedy.

As for Larry Cohen, The Stuff is a prime example of his signature approach to horror—blending pulpy thrills with pointed social commentary. Throughout his career, Cohen carved out a unique space in the genre, crafting inventive, low-budget horror films that often had something meaningful to say. From It’s Alive (1974), a nightmarish take on parenthood, to Q: The Winged Serpent (1982), his offbeat creature feature set in New York City, Cohen consistently delivered high-concept horror with a satirical bite. His work may not have had the polish of mainstream horror directors, but his DIY spirit and subversive storytelling made him a cult icon.

As a piece of schlocky, effects-driven body horror, The Stuff is a fun ride. As a social commentary, it’s admirably bold but ultimately a little too messy. It’s not Cohen’s best work, but it remains a fascinating, if flawed, slice of ‘80s horror satire that still oozes with cult appeal.

• Saul Muerte