A modern, punk adaptation of Shakespeare’s classic. Told irreverently, this film attempts to impact the viewer in the same way theatre-goers were effected in Shakespeare’s time. Bawdy, Violent, Humorous, and Romantic. —IMDb
Lloyd Kaufman (born December 30, 1945) is an American film director, producer, screenwriter and occasional actor With producer Michael Herz, he is the co-founder of Troma Entertainment film studio, and the director of many of their feature films, including the The Toxic Avenger and Tromeo and Juliet. Kaufman also serves as chairman of the Independent Film & Television Alliance.
In 1974, Kaufman and his business partner Michael Herz founded Troma Entertainment and began producing and distributing independent action and comedy films. In order to pay the bills, Kaufman did freelance work for Hollywood productions, including Rocky, Saturday Night Fever, and The Final Countdown, which he also produced (Kaufman has said that it was his experience on this film that made him never want to deal with a major studio again). From 1979 to 1981, the two wrote, produced and directed a series of profitable “sexy comedies,” precursors to such films as Porky’s, including Squeeze Play!, Waitress… read more
James Gunn was born in St. Louis, Missouri. He earned his B.A. in theatre at Saint Louis University and his M.F.A. in creative writing at Columbia University. Upon graduating, he wrote several screenplays for Troma Entertainment, first of which was Tromeo & Juliet (96). Soon after, he wrote numerous scripts for Hollywood, including Scooby-Doo (02) and Dawn of the Dead (04). His feature directing credits include Slither (06) and SUPER (10). –TIFF
A quite clever mashup rendition of the Shakespeare tale from usual trash merchants at Troma films. Revisionist to the extreme and quite entertaining with actress Jane Jensen a rare flower amongst the swine. Cartoonish violence, lesbians, nipple piercing, mutant penises, incest and scatalogical humour; Shakespeare never looked more hip. Written by James Gunn years before SUPER and Slither. Well worth a look.
Baz Luhrmann’s take on the play is often cited as a 'punk' rendition, but this puts it in the shade. Aptly described as 'no-holds Bard', it’s a truly radical transposition, populated by cokeheads, philanderers and mobsters and which amazingly manages to preserve the text’s essence amidst the casual sex, violence and general shock value and absurdity that marks this scatologic re-telling. A raucous, surprisingly workable take.