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Tromeo and Juliet – Will Keenan and Jane JensenĪs you’d expect Kaufman’s direction is at best bad and at worst atrocious, especially when a slightly clever attempt at montage is attempted and things become momentarily impossible to follow (this happens a few times, particularly when we go into a dream sequence). Then we head to Lloyd Kaufman’s vision of a punk club where we meet various members of the Capulet family and a piercing and tattoo parlour where we meet various of the Ques (this film’s version of the Montague family) including Tromeo.įrom there the film takes on a very loose version of the origin story, albeit with extra gore, body modification, sex, bondage, penis monsters and drugs that induce transformation into a cow-human hybrid… as anyone who’s knows Troma’s work will recognise its almost pointless trying to explain how most of that fits into the story. A couple of months later, keeping with the long-held tradition of exploitation cinema, Troma Films released their, rather more unique, version of the story, Tromeo & Juliet.įrom the off we are in fairly familiar Troma territory, albeit with what looks like a far higher budget than most of their output, as Motorhead’s Lemmy welcomes us to “Fair Manhattan, where we lay our scene” and introduces the principal players (then the less principled ones… that’s the level of humour we’re dealing with, for the most part).
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In 1996 Baz Luhrman and his leading man Leonardo DiCaprio shot to mainstream international recognition with the release of a new retelling of William Shakespeare’s Romeo & Juliet.