As a movie enthusiast who’s lived through the ’80s and has a soft spot for practical effects and cult classics, I can confidently say that “Street Trash 2” is a delightful ride. The sequel pays homage to its predecessor while injecting fresh ideas and humor that make it stand on its own.
1987’s cult favorite “Street Trash” by J. Michael Muro, often hailed as one of the peak films in the “melt movies” genre, is a grisly subcategory of horror where characters’ bodies liquefy in grotesque fashion, showing skin shedding and skeletons disintegrating in an over-the-top manner. In this movie, homeless individuals are victims of a lethal brew named Tenafly Viper. The upcoming sequel, “Street Trash,” directed by Ryan Kruger (writer of “Fried Barry”) and releasing on VOD via Cineverse on Tuesday, maintains the extravagant practical effects as a group of endearing homeless outcasts wage war against a government bent on their annihilation through a gaseous form of Viper. Kruger, who also co-wrote and filmed the movie in his home country South Africa with producers Not the Funeral Home, discusses the challenge of striking the right balance between the film’s message and entertainment value, the challenges of managing melted body cleanups, and the potential for a sequel with EbMaster.
What made you want to direct a sequel to this classic underground movie?
Initially, the opportunity didn’t come from me; instead, it was the producers who approached me following the release of “Fried Barry.” Many people had suggested I’d be suited for this role, and their comments piqued my interest. Upon being contacted, I recognized the film as I had grown up with “Street Trash,” which made me excited. However, as a devoted fan of the original, I wasn’t interested in simply replicating it. Instead, I wanted to incorporate some of its essence and pay tribute to it with subtle nods. This is essentially a continuation set within the same universe for a fresh audience.
How did you first start visualizing the gore for this movie?
Clearly, a significant aspect of the original film was its use of prosthetics, which evoke the nostalgia of the ’80s. Being raised on ’80s films myself, it was a delight to shoot using 35mm film, and I believe this contributed to the film’s overall aesthetic. All the effects and prosthetics were practical, filmed in-camera. Another notable feature of the original is the vibrant, fluorescent colors used for blood and other substances. To preserve that ’80s atmosphere and pay homage to the original, we intentionally included numerous nods and references. The government plotline involving the disposal of homeless people serves as a unique twist in the storyline while still keeping it within the same world, set at a later time.
Do you have an estimate of how much practical gore you used?
After filming, there were numerous clean-ups due to the amount of mess created. Specifically, when dealing with blood scenes, special attention had to be paid to ensure no traces were left behind on the floor at various locations. The actors found it challenging to portray the melts as it was winter in South Africa, and they had to contend with leaking pipes, cold weather, and freezing conditions between takes – all while wrapped only in towels. Nevertheless, the experience was enjoyable overall.
For me, it’s very important for me to have characters you like and can relate to. So the cast was very important — we had fun with it. We even had nods with wardrobe, like we had 2-Bit (Gary Green) with the red dungarees and the yellow gloves, which is Roger Rabbit. Chef’s character was Stanley Kubrick. Then we had Ronald, the main character … He was like Robin Williams in “The Fisher King.” Alex was like Ripley from “Aliens.” There’s a lot of cool little details there. What I wanted, with the music and for what it is, was almost like if John Hughes made a melt movie. I wanted it to still capture the ’80s and these fun characters.
The backbone of the story is social satire, with a lot of attention paid to how homeless people are treated in society. What were you hoping to have audience members think of while watching the movie, beyond the fun time they’re having?
There are two perspectives to consider about this movie. On one hand, it’s simply a form of entertainment – you watch it for pleasure without any additional expectations. On the other hand, there are underlying themes that resonate with our recent experiences, such as the pandemic and its aftermath, including increased homelessness and job loss. These messages may hold significance, but ultimately, it remains an entertaining piece of art, like a melt movie at its core.
Could you see yourself interested in another sequel?
I truly enjoyed creating this piece. I’d be receptive if we could develop an appropriate sequel. Many viewers have already watched it and are inquiring about a follow-up. To tell you the truth, I’m unsure, but time will reveal all. However, I appreciate various genres, so I don’t want to limit myself to just one type of project. If you compare “Fried Barry” with my latest work, you’ll notice it has a darker, more experimental feel. This project, on the other hand, caters to a broader audience.
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2024-11-19 20:52