Megaboa

When it comes to creature features, some creatures are overrepresented (fish), others under (rabbits, for obvious reasons) in terms of the sheer volume of titles. Hell, sharks represent a cottage industry unto themselves with the dead-eyed killers of the deep even hybridized with other beasts (Shartopus, Dinoshark) to keep the party going and the titles multiplying.

But one thing’s for certain: most nature run amok films have at least one (or at best two) classic films per species to add to the horror canon. There’s Jaws for Sharks, Piranha for fish that aren’t sharks, Birds for Birds, Alligator and Crawl, which are very solid gator flicks, Cujo for dogs, Roar for very large felines, Backcountry for bears…Not so much with snakes.

Going back to the 70s’ Ssssss, through to Anaconda and Snakes on a Plane…snake-focused horrors haven’t achieved great heights and remain rooted to terra firma. And Megaboa doesn’t change that.

In Megaboa, Eric Roberts portrays Dr. Malone, an anthropologist. Speaking of representation, that’s a profession that is VASTLY overrepresented in horror films, as you frequently need a subject matter expert to explain stuff away – especially supernatural mumbo jumbo. In Megaboa, he is leading a team of grad students through an Amazonian jungle, to do what exactly, we don’t know.

They come across a wild-eyed poacher, the doc is bit by a poisonous spider, and there’s a “60 foot snake” roaming about (“50 foot” in the poster, for alliteration’s sake).

Seriously, constant references to the size of the snake is…Freudian. Or something.

Soon, the giant beast begins squeezing the life out of the principals, but not the film. This one is a lively affair, and at risk of damning with faint praise, one of the better movies ranked in the “2s” on IMDb.

It’s not a world-beater by any means, but could’ve been executed far far worse, especially considering how many awful killer snake movies have slithered out onto streaming services of late.

**1/2 (out of 5)

Slaxxx

Inanimate objects springing to life and killing people, is usually the stuff of machinery: think Killdozer, Rubber, Christine, Microwave Massacre.

Slaxxx, however, turns the notion on its head by fitting jeans into the mix. Yes, a possessed pair of jeans is at the centre of this Quebec-lensed Canadian microbudget, for which Shudder bought the streaming rights in 2021.

“Fast fashion,” is already the stuff of nightmares – poor workplace conditions, subpar fire regulations, low pay, nebulous supply chains, landfill-ready merch instead of stuff that’s meant to last. And yes, it includes jeans, previously solidly-made stuff for miners and other blue collar types, but now very short-lasting.

The setting for Slaxxx is Canadian Cotton Clothiers, retail hell, which we’re introduced to through newbie employee Libby. There, Japanese rah-rah corporate motivation-speech is entrenched. And it’s married to au courant “manifesting” jargon that’s ever-popular (and ever difficult to define) on TikTok and Instagram.

Everyone is anticipating the big launch of a product innovation that fits every body type by expanding/contracting plus or minus 10 lbs. However, a pair of the jeans, ostensibly manufactured sustainability, is cursed. And taking on a life of its own.

Slaxxx is a tight production, as befitting the subject matter. A lean run time and a curious yet intriguing idea, serves it well.

*** (out of 5)