Typically, the enjoyment of a Troma film goes as far as your threshold for offensive and corny humor, peppered with satire and a winking self-awareness. However, RETURN TO NUKE ’EM HIGH VOLUME 1 is a triumph, going so bold with its cheese and savagery that it’s practically visionary. Of course, traditionally speaking, the film is so incoherent and over-the-top that more humorless and strait-laced audience members may decry the film as stupid or incompetent. However, Troma’s intention is directly in line with its unhinged, absurd world, and with its array of caricatures and disgusting violence, its gleeful anarchy is shockingly refreshing and true to the form
Even though it’s insane, nonsensical and silly on a fundamental level, RETURN TO NUKE ’EM HIGH VOLUME 1 is undeniably funny, brave and so unlike anything else being put out today that it practically demands respect. Kaufman has made another film in the vein of Troma’s classic output that is simultaneously juvenile and brilliant, firmly lodged in a place of sublime and subversive anarchy. It’s a tour de force of the company’s independent aesthetics in the 21st century, and for those who can appreciate a reprehensible trip into brutal violence, self-deprecating satire, gruesome FX and sexually taboo excess, it’s a welcome return indeed. For this writer, the wait for RETURN TO NUKE ’EM HIGH VOLUME 2 will not be short enough.
There are glee clubs, and then there are glee clubs populated by mutant Cretins. With dips into LGBT issues, bullying and contaminated food supplies, this delicious sci-fi horror comedy—currently making the festival circuit—is a follow-up to Troma B-movie classics like THE TOXIC AVENGER (1984) and CLASS OF NUKE ‘EM HIGH (1986).
People were cheering, yelling, laughing, jumping out of their seats, and just contributing wholeheartedly to the onscreen festivities. It was amazing.
The films by the fine folks at Lloyd Kaufman’s trashy Troma Entertainment require their own critical scale—consider this one half hilariously awful and half awfully hilarious.
As unlikely as it may sound, put in the plus column a whole lotta bad taste: shockingly inappropriate jokes about high-school shootings, Jerry Sandusky and George Zimmerman; a rampaging, radioactive penis that burrows into an unlucky character’s chest cavity and eats his heart. (You know, that sort of thing.) The movie hinges on a lengthy lesbian sex scene between in-on-the-joke leads Asta Paredes and Catherine Corcoran; Blue Is the Warmest Color this ain’t.
Powered by ribald bursts of bad taste and bodily fluids… The overall effect is [sic] joyous.
“Return to Nuke ’Em High’’ is an occasionally hilarious series of parodies: “Carrie,’’ “Soylent Green,’’ “Glee,’’ “Cat Ballou,’’.
Imagine the French lesbian romance “Blue Is the Warmest Color’’ as a raunchy American exploitation flick…
Every scene has something wild in it.
[Asta] Paredes and [Catie] Corcoran give really sincere performances. You really believe the relationship that forms… and it’s legitimately touching…. It’s really a triumph…
There’s nothing comparable to a Troma film, and Lloyd Kaufman is back to his old tricks with his fourth effort in this gratuitous franchise. Return To Nuke ‘Em High Volume 1 is not only a satirical assessment of our current society, but it’s a love-letter from Lloyd to his fans.
Tromaville High School has never felt so fresh and inviting, ripe with students just begging to be dismembered, pulverized, brutalized, and graphically maimed – which there’s plenty of. Kaufman’s newest high school romp is some of Troma’s best work, right on par with a personal favorite of mine called Poultrygeist: Night Of The Chicken Dead.
This film has an extremely retro flavor, including the 80s-flavored theme song and typical teenage sterotypes: the heroine of modest means who just wants to save the world, poor little rich girl, dweeby nerds, fat guys, dumb jocks, etc.etc.etc. Director Lloyd Kaufman, in typical Troma style, takes all this and twists it into a hilarious, disgusting mess that both shocks and entertains the viewer.