<rss xmlns:atom="http://www.w3.org/2005/Atom" version="2.0"><channel><title>Society - vo.rs</title><link>https://vo.rs/tags/society/</link><description>Latest from the Society desk at vo.rs.</description><generator>Hugo -- gohugo.io</generator><language>en</language><copyright>This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.</copyright><lastBuildDate>Sun, 29 Jun 2025 12:00:00 +0000</lastBuildDate><atom:link href="https://vo.rs/tags/society/" rel="self" type="application/rss+xml"/><item><title>Society (1989): The Body-Horror Satire With the Nastiest Ending</title><link>https://vo.rs/screen/society-1989-the-body-horror-satire-with-the-nastiest-ending/</link><description>&lt;p&gt;Brian Yuzna&amp;rsquo;s &lt;em&gt;Society&lt;/em&gt; (1989) is a film with a secret, and the secret is that it spends most of its running time pretending to be a much tamer movie. For an hour it plays as a moody, slightly stiff paranoid thriller about a Beverly Hills teenager who suspects his wealthy family is hiding something monstrous. The pacing wobbles, the acting varies, and a first-time viewer could be forgiven for wondering what the fuss is about. Then the last reel arrives, and the film unleashes one of the most deliriously repulsive climaxes in horror history, a set-piece so far beyond what the previous hour prepared you for that it retroactively rewrites everything you have watched. &lt;em&gt;Society&lt;/em&gt; is a slow build with a nuclear payload, and the wait is the whole design.&lt;/p&gt;</description><pubDate>Sun, 29 Jun 2025 12:00:00 +0000</pubDate></item></channel></rss>