A sludgy new ‘Toxic Avenger’ rises again, at a moment when trash has become treasure

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One of the more amusing consequences of a cult film’s popularity is the nostalgic longing for extreme tackiness. Is it a wistful sigh or a smile tinged with discomfort? The joyous movie factory, Troma, has reached 50 years and counting, earning reverence in offbeat cinema circles. A significant part of its esteem comes from its ’80s productions that fit neatly into the Reagan era. This is particularly true for their 1984 monster comedy, “The Toxic Avenger.” It was a character made from green chemical sludge who became an anti-pollution vigilante if you wanted to look at it positively, but in reality, it was a critique of everything. Speed and wastefulness led to very poor taste.

In our everyday lives, we all recycle waste, but does recycling apply as a concept in filmmaking? This question has been tackled by Macon Blair, a frequent collaborator with Jeremy Saulnier both on and off screen (“Blue Ruin,” “Hold the Dark”), who is also an award-winning writer-director (“I Don’t Feel At Home in This World Anymore”). In his latest work, titled “The Toxic Avenger”, Blair presents a unique take on this theme. One could argue that the film’s greatest flaw might be its high production quality. The film stars Peter Dinklage as the mutant protagonist, Toxie.

In an unexpected twist, it’s surprising when, anticipating distaste from the flashy, low-budget filmmaking of Troma, one discovers that elements like excessive gore, explicit language, and exaggerated parody are commonplace in mainstream films or television. This leaves room for discussions about artistic merit, and it becomes clear that Lloyd Kaufman, the creator of “The Toxic Avenger,” intentionally chose to make this film, despite its crudeness, violence, and silliness, something to be proud of. Remarkably, it boasts a talented cast including Kevin Bacon, Elijah Wood, and Taylour Paige. Is nothing sacred in the world of cinema anymore?

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When even the most financially backed films appear visually poor, everything seems disordered. However, what Blair has compiled then offers an entertaining tribute to schlock: a Halloween costume you’d only wear once for a joke. Interestingly, this time it presents its environmental awareness as a defiant gesture. The main antagonist in the story is a pharmaceutical company named BTH, which is now portrayed as a ruthless organization. The CEO, Bob Garbinger (played by Bacon), indiscriminately pushes harmful lifestyle drugs onto consumers and even hires a brainless punk band to silence a journalist (Paige) who aims to expose him. A nod to the original Toxie’s name is given through the character of Mel Ferd, a muckraking mentor figure who only appears at the beginning of the story.

In Blair’s arrangement, things are rooted in genuine emotional depth (take a breath). Peter Dinklage’s heartfelt portrayal of Winston Goose transcends the stereotypical picture of a submissive janitor at BTH; he is, in fact, a quietly spoken widower grappling with the challenges of raising his stepson, Jacob Tremblay. Wistfully, Winston has been informed that his terminal illness is not covered by medical insurance, and the phone call about his employee benefits plan feels uncomfortably close to the truth, making it hard to find humor in the situation.

One night, Winston attempted to steal from his employer while using a mop dipped in hazardous waste. However, instead of killing him, the toxic substance transformed Winston into a disfigured character, played by performer Luisa Guerreiro in post-mutation suit work. This new form of Winston had a removable eye, blue flowing blood, and an unusual trait for urine that was like acid. Despite his violent dispatching of criminals, Toxie, as he became known due to the mop, gained respect within the community for exposing BTH as destructive forces. However, this newfound status also made him a marked man, especially when Garbinger saw an opportunity in Winston’s mutated biofuel.

As a die-hard movie buff, I can’t help but notice that this film gleefully plays with superhero tropes, even throwing in a cheeky post-credit scene. It’s all about the dumb, gory fun, though it might not fully capture the essence of a true Troma tribute if you ask me. This could be why Lloyd Kaufman, the trash cinema pioneer and original “Toxic Avenger” collaborator, has a grumpy cameo towards the end of the movie, with both him and Blair looking as annoyed as can be. I bet they had a great time making it!

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2025-08-30 20:01