In a time of super politically correct culture, an act of skewering everyone should be seen as fair. 2 would I recommend for an Oscar? Let’s wait for the movie to come to the country first. What from Return to … Return to Nuke Em High AKA Vol. Whether it’s a dig at Trump or Hillary, Disney or news media at large, this is a movie that’s angry at everyone, but wise enough to know when and where it ought to spew out its aggression. 2 is, after all, is said and done, confident. Don’t confuse this urgency to entertain with insecurity in self, as Vol.
It never takes a breath to relax and unfold, probably because it’s waited years to finish and be released into our eye sockets. It’s always moving, always behaving loudly and always with something to say. cutting, and unadulterated political/societal thematics. What I’m getting at is in the Mountain Dew-fueled pacing, A.D.D. Now, at one point, the movie does pause and turn on its own spoof director’s audio track, but that’s a jokey extreme example. For the duration this movie plays, it is constantly engaging us with blow by blow notes and thoughts on what it’s doing. What stood out to me, beyond all of the blood and guts, breasts and butts, was the running commentary on itself. “This is a movie that’s angry at everyone, but wise enough to know when and where it ought to spew out its aggression.” Can our teenage heroines save Tromaville High and the world before we all become cogs in this evil corporate machine? Meanwhile, Tromorganic Foodstuffs have introduced radioactive and highly toxic tacos into domestic and international food supplies, creating an army of Cretins, running amok on anything and everything. In this second part of a double loaded feature, Chrissy and Lauren find themselves in the midst of personal and worldwide catastrophe – Chrissy is about to have her love life exposed and Lauren has just given birth to a mutated duckling baby. Gratuitous nudity kicks things off and continues all the way through, executed with various emotional tones – from pure titillation to comedy to sympathy and empathy. Set over the course of roughly 24 hours, the students of Tromaville High experience duckman birthings, mutations, religious events and a cretin invasion to boot. 2, he cranks things up to the opposite end of the spectrum. It was a subversion of his own style, and with Vol. That film features one of my favorite moments of longing and gazing into someone’s eyes, in a dance scene that Kaufman would normally keep his focus on the female form (so to speak). 1 set the stage for insanity with a tale of young love amidst radioactive foodstuffs and government/corporate conspiracy. “… Lauren has just given birth to a mutated duckling baby.” Suffice to say, Kaufman may have a difficult time in topping this flick. 2 means to The Toxic Avenger and/or The Battle of Love’s Return. What Inland Empire means to Eraserhead, Return to … Return to Nuke Em High AKA Vol. There are near celestial levels of indulgences taken, all for the better! It’s an utter astonishment of sensory penetrations that re-aligns the parameters of Uncle Lloyd’s filmmaking comfort zones. 2 is the all too meta, fourth wall breaking, asylum wall destroying amalgamation of everything Kaufman has been working towards in his career. 1 was the methodical-lite entry that settled on character and punk tones, Vol. 2, is Troma’s most manic magnum opus yet.
His latest, the remake/reboot/re-imagining/sequel(?) Return to … Return to Nuke Em High AKA Vol. So much purpose behind a person’s behind can bring a tear to one’s eye. Kaufman is guilty of offensive acts, sure, but each and every one of them is injected with great thought, energy, effort, and heart. More than the simple visual of a fat man writhing on the floor with his pants down, blowing chunks of bowel demons on a wall, it was a moment of aggressive transgression that pushed it from stunt gag to transcendent beauty. This one bit altered my opinion of general cinematic poopery so much that I even wrote about how it deserved an Oscar nomination. In his fast food zombie picture Poultrygeist, there’s a sequence involving an obese sandwich marketer crapping all over a bathroom in explosive quantities. I don’t think anyone with eyes and ears will accuse American auteur Lloyd Kaufman of indulging in and engulfing his films with massive amounts of toilet humor.