Directed By Macon Blair

Starring – Peter Dinklage, Jacob Tremblay, Taylour Paige

The Plot – A horrible toxic accident transforms downtrodden janitor, Winston Gooze (Dinklage) into a new evolution of hero: The Toxic Avenger.

Rated R for strong violence and gore, adult language throughout, sexual references and brief graphic nudity

The Toxic Avenger: Exclusive Red Band Trailer (2025) Peter Dinklage, Kevin Bacon

POSITIVES

After sitting on the post-production shelf of distributive speculation for two whole years, “The Toxic Avenger” finally sees the light of day, mastering the seemingly impossible task of a contemporary installment to Troma Pictures original franchise, despite everything within overwhelming adversity that should work against its intentions. For starters, the movie is made at a politically correct time in our cinematic landscape, but Blair throws caution to the ceiling fan, instead initiating the same kind of subjective crassness and crazed chaos that made Lloyd Kaufman’s original film one step ahead of spoof, while pushing the proverbial envelope of audacity as far as it could capably go. This aspect alone not only uncovers some hilariously satirical social commentary in everything from insurance scams, to newsroom hyperbole, to even cancel culture on the clever heels of Cracker Barrel’s recent rebranding, but also shamelessly indulges in the buckets of blood philosophy that made those aforementioned films such a rousing riot to endure for the first time, featuring a rich combination of practical and C.G-based special effects that only enhance the element of the atmosphere, in favor of their overwhelming artificiality that feels intentionally transparent. On top of this, practicality also lends itself to the mutated design of Winston’s terribly tragic transformation, with a complete moving and interactive bodysuit that removes any semblance of familiarity from Dinklage’s appearance, while also unlocking some pretty unique capabilities from this version of Toxie that gets him out of some pretty dire circumstances. If this isn’t enough, the script, while plagued by the predictabilities of a basic superhero screenplay outline, doesn’t abide by the rules of remakes, instead materializing a completely fresh direction and ensuing storyline that succeeds in feeling like an original addition to the franchise, while maintaining the true essence of the character’s fight for justice. Appreciative additions come in the form of not only Winston’s strained relationship with his stepson (Played by Tremblay), but also in a supporting arc from Paige’s journalist, which sees her character seeking to expose the criminal corruption of what’s transpiring at this Toxic waste plant that Winston works at. This allows the film a couple of unique angles to keep with the consistency of the movie’s solid pacing throughout 97 minutes of runtime, but beyond that proves appreciation in the helming from Blair, which decides to leave a loving and untouchable classic alone, and instead paving his own road to winning over the hearts of his audience, an objective that I can say he effectively accomplishes from the raving responses that were present in my auditorium of the screening. In terms of presentation, the film was never going to appraise the cheapness and mundane coloring of its predecessors that almost immediately attained campy laughter from its initial images, but it does enact impact from a slightly elevated production value that illustrates the cult-like appeal of comic book consistencies, with strange lighting choices and quick-cut immersive editing inside of the head of the depicted character, that corresponds seamlessly with everything we’re experiencing atmospherically. From the opening establishing shots of the engagement, the movie texturally conveys an almost Grindhouse resonance that immediately puts our preconceived concerns of a polished presence to bed, with unnatural color grading articulating the kind of slimy setting that immediately makes it difficult to take seriously for a single solitary second, even if it is blessed by the legitimacy of a credible ensemble who each constantly commit themselves unrelentingly to the lunacy of the experience. Dinklage thrives in the psychologies of each side of his transformation, with a timidly awkward demeanor initially that makes him the most uncomfortable of step parents trying to interact with his teenage counterpart, as well as a stern stoicism after his toxic bath that makes him such an opposing presence, despite an outlining of features that paint a false sense of security for surrounding adversaries. Kevin Bacon is also a lot of fun as the central antagonist, despite one-dimensional characterization that threaten his impacting appeal on the project. Bacon commands authority with a sleazy demeanor of charisma and assertive deliveries that make him the lecherous epitome of corporate greed, all entombed within a smug smile meant to disarm interacting parties to giving into the power struggles that he constantly wins in one way or another. Lastly, Elijah Wood nearly goes unrecognizable in a freaky-deaky performance that cakes him in enough make-up to look like the offspring of Danny DeVito’s version of the Penguin, all the while offering him scene-stealing instances of commitment to character that physically by hunch, or emotionally by plaguing tragedy, reminds us of his captivating presence over a project, especially when he loses himself in the depths of such an uncomfortably unappealing character that inspires such a palpable transformation within him.

NEGATIVES

Complaining about anything in a Troma-based project feels idiotic, however there were a couple of nagging inconsistencies that kept me from faithfully losing myself in the macabre gruesomeness of the project, particularly a conventional screenplay that inspires plenty of ambition creatively, but nothing emotionally that adds deviating layers to a project that is otherwise effortless to navigate. One of my biggest problems with the original films were that they refused to attack the tragedy of the character head-on, in fear of it compromising the carefree campy demeanor that it effectively elicited for itself, but here my hopes were that a bigger studio might demand empathy from the character, especially with a kid of his own to look over, but the movie never came close to grabbing me emotionally in ways that could elevate the investment, a fact made all the more glaringly transparent with a late act shocking development that I loved for how it adds to the anything goes mentality of the franchise, but one that it safely and quickly redacts itself of, only minutes later, leaving “The Toxic Avenger” entirely one-dimensional, even if its an area that it does exceptionally well. In addition to the script lacking compelling deviation, I truly feel that the biggest obstacle that the hardcore enthusiasts of the original movie will face is a lack of boundary-pushing to the comedic material that at least made the 1984 original movie a taboo secret among underground film lovers. Here, the material does occasionally shock and stir with physical humor towards the amputation of certain sensitive organs, but in attitude it’s a tamed and toothless puppy compared to its predecessors, refusing to ever come close to the offensiveness of the original, which in turn inscribes a palpable irony to the aforementioned gags towards cancel culture, that it in itself is guilty of contributing to. I understand that with a bigger studio comes more responsibility, but it’s the single biggest inferiority to the material of its predecessors, which is sure to let some fans down in attaching themselves to this newest version that takes the high road more times than not. Finally, while Blair is able to convey the same kind of seedily slimy environments that made up the original’s setting of Tromaville (This time St. Romaville), with an enhanced production, it does nothing for the integrity of the action sequences, both with flatly dull fight choreography and uninspired sequencing that feel outdatedly bare, even for a remake of a 1984 movie. Not only is there a complete absence of palpable tension or urgency in these physical conflicts, but also anything lacking gritty magnetism in the ways they’re filmed, and considering they’re the most climactic moments throughout the film’s duration, they leave the impact so flatly defused with how they’re delivered, sending the audience home on a bit of a flat third act that proved its best tricks were previously spent.

OVERALL
“The Toxic Avenger” might lack some of the limitlessly audacious aspects of its unsubtly taboo predecessor, but it’s still a hilariously gory romp of an eccentric extravaganza that demands to be seen in big audiences, with its distinct brand of crude campiness paying homage to Lloyd Kaufman’s maverick brand of filmmaking. With endless commitments from the prestigious ensemble seamlessly losing themselves in the depths of these ridiculous personalities, as well as contemporary commentary underlining the script’s blink-and-you-might-miss-it deliveries, Blair does a commendable job tapping into the crude sensibilities of Troma’s distinct atmospheres, eliciting an over-the-top good time that toxically tickles longtime enthusiasts who have waited two years to see Toxie on the big screen.

My Grade: 7.4 or B-