Both are anchored by an unrelenting sense of escalation and doom, you don’t get the sense that things are going to end well either way. On the other hand, you could say the same thing about Cronenberg and The Fly, which saw his body horror leanings reach delirious new highs and includes an almost career defining performance by Jeff Goldblum (and Geena Davis for that matter).īoth movies have excellent, top notch and incredibly inventive practical gore effects. On one hand, The Thing is a filmmaker at the top of his game (while I love Halloween, The Fog, Big Trouble in Little China, Escape From New York and They Live, Carpenter’s mastery reached its height here). How about John Carpenter’s 1982 masterpiece remake of The Thing pitted against David Cronenberg’s 1986 masterpiece remake of The Fly? Not so easy, is it? Not for me at least. I figured I’d pose a neck and neck challenge to myself and to you horror fans. Remake segment I pitted Zack Snyder’s 2004 Dawn of the Dead against Chuck Russell’s 1988 remake of The Blob and came out in favor of the latter, which is hands down one of my favorite 80’s movies.īut this week I figured I’d get interesting.
#Tromeo and juliet cow movie#
I’d rather watch a flawed but interesting movie than a technically competent borefest.In last month’s Remake vs. I stand in awe of their glorious weirdness. But theses are works of art with a unique and singular voice. Is the social commentary a little on the nose? Sure. They do whatever they dang-well feel like. Lloyd Kaufman and team never got that memo. Therefore, most movies are blandly mainstream. So, to get a movie made, it has to appeal to a lot of people. You have set designers, editors, composers, caterers, and many more. Even on a small production you have investors, producers, and the like. So, as I rewatched this film, I kept wondering why these movies are so important to me, and I think I know why. They’re also able to work in some of Shakespeare’s own words, and make it sound seamless and natural. It strikes the perfect balance between the sophomoric house-style of Troma and some very clever dialogue. You’ll understand.īut it all starts with the script, written by Mr. Keenan and Jansen are amazing, but so is William Beckwith as Cappy and, as mentioned before, Steve Gibbons as Arbuckle. This film may have the most speaking parts of any Troma movie.Īnd the acting is excellent. It also has an epic feel, thanks to the story’s pedigree and the large cast. I think specifically of the scene in the glass cage (where Juliet’s father puts her for punishment) where our two lovers comfort each other, and the scene where Tromeo’s best friend, played by an excellent Valentine Miele, reveals his true feelings for our hero. However, “ Tromeo and Juliet” is more ambitious than any other Troma film to date. You’ll notice I don’t say any of this is gratuitous, because in a Troma movie these are all necessary for the aesthetic.
Kabukiman, hermaphroditic cow-women, penis monsters, Debbie Rochon, and plenty of nudity and gore. We have Lemmy as the Narrator, close-ups of nipples being pierced, extras mugging for the camera, cameos from the Toxic Avenger and Sgt. What’s great here is all the little flourishes that the Troma team adds. This leads to a lot of Troma-quality violence between the two factions. Of course, their families hate each other ever since Cappy elbowed Tromeo’s dad, Monty Que, out of their filmmaking business. The star-crossed lovers run off and marry in secret. At a costume party, he falls for the beautiful Juliet (Jane Jensen) who is being bullied by her pervy father Cappy Capulet to marry the unhinged London Arbuckle (a wonderful Steve Gibbons). Tromeo Que, played by Will Keenan, is a sweet, earnest young man. As a matter of fact, I’m willing to state that “Tromeo and Juliet” is the best film adaptation of any of the Bard’s work. The plot is straight from Shakespeare’s play (with the addition of a lot of incest and one pedophile priest). Some of our heroes, like Bill Cosby and Lance Armstrong, may fail us, but Lloyd Kaufman is a rock. After rewatching it yesterday, I can say my original feelings are validated. I was worried it might not live up to my memories. Granted, it had been several years since I’d watched it all the way through. For years, I’ve always held “Tromeo and Juliet” up as the highwater mark of their work. In all reality, I became a filmmaker because of them. Kaufman and the good folks over at Troma Studios would be an understatement. It says, “Joshua-stay toxic.” To say I’m a fan of Mr. Tromeo, a filmmaker, falls in love with Juliet, the daughter of a former partner who tried to steal his business from him.Īs I sit down to write this, I keep looking over to my autographed copy of “ Bloodsucking Freaks” from Lloyd Kaufman.
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