‘All these things I will give thee, if thou will fall down and work for me’.

As a film reputedly made from the ‘fag ends’ of the production of The Toxic Avenger, Part II (Michael Herz & Lloyd Kaufman, 1989), The Last Temptation of Toxie is remarkably coherent. The film’s narrative – in which Toxie ‘breaks bad’ by agreeing to work for Apocalypse, Inc in order to acquire the $357,000 to fund the experimental surgery needed to restore his fiancee Claire’s sight – is essentially a story about ‘selling out’. The ‘local’ (Tromaville’s small town mentality) is pitted against the ‘global’ (the evil corporation Apocalypse, Inc). This is established in the film’s opening sequence, which acts as a metonym for the broader conflicts suggested in the narrative. In this sequence, which arguably sets a bar in terms of onscreen action that the rest of the film struggles to achieve, a group of hoodlums enter Tromaville’s video store, the walls of which are plastered with posters for Troma movies, and tell the patrons that now Tromaville is ‘a company town, you’re all gonna rent company tapes’. Various Hollyweird studios are namechecked (Disney, Warner, Paramount) in a manner with overtly negative connotations. The patrons, including a girl in a bikini who writhes erotically throughout, assert that they like variety. (Hollyweird product, by implication, does not offer this.) Into this strides Toxie, who defends the patrons against the corporate hoodlums in excessively gruesome, wonderfully comic ways, defending the notion of variety and choice in cinema against Hollyweird’s homogenising ways. (Given how the superhero film has evolved since Toxie’s heyday, we could certainly benefit from a Toxic Avenger wandering into current cinematic trends and smashing up the corporate hoodlums.)

The film is as ‘meta’ as, say, RoboCop 2 (Irvin Kershner, 1989) – a sequel which narrativises the process of making a corporate beancounter-pleasing sequel through the building of ‘RoboCop 2’, a robot designed by the evil corporation (OCP) to better the original RoboCop but which ends up being utterly compromised because they (OCP) cannot capture the essential humanity of the original (RoboCop, the cyborg/RoboCop, the movie). The Last Temptation of Toxie‘s opening sequence establishes a contrast between Tromaville (independent cinema) and Apocalypse, Inc (Hollyweird product), establishing a theme which the rest of the film pursues relentlessly (through Toxie’s ‘selling out’ to the corporation).

Along the way, there are some wonderful asides (a member of Apocalypse, Inc who channels Robert De Niro’s performance as Louis Cyphre in Alan Parker’s Angel Heart, 1987) and Phoebe Legere’s energetic and unashamed performance as Toxie’s lady love, Claire. It’s a funny picture, barbed in its anti-corporate sentiments; the bad rep it has achieved is arguably undeserved: whilst not on par with the first Toxic Avenger (Herz & Kaufman, 1984) or Citizen Toxie (Kaufman, 2000), it is easily the equal of The Toxic Avenger, Part II.

Viewing Notes. The 88 Films Blu-ray release runs for 101:49 minutes and appears to be a cut prepared for an ‘R’ rating in the US. This edit of the film omits some of the more gruesome violence – notably some of the acts Toxie commits against the hoodlums in the film’s video store-set opening sequence. The presentation is adequate though parts of it are in more rough shape than others, with some noticeable damage here and there (including vertical scratches). It would seem that the source is a positive element – perhaps an interpositive or even a print. Audio is presented via a LPCM 2.0 stereo track, which is functional.

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