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Return to Nuke 'Em High Volume 1

6/10
Comedy . Horror . Science Fiction . Sci-Fi
 

Return to the Class of Nuke 'Em High follows a young couple that are up against the school glee club. Unfortunately, the glee club has mutated into a gang called The Cretins. When the other students begin to undergo mutations, our couple must solve the mystery and save Tromaville High School

 
Actors: Asta Parades , Catherine Corcoran , Zac Amico , Vitto Triggo , Babette Bombshell , Adam P. Murphy , Tara E. Miller , Mark Quinnette , Stefan Dezil , Lloyd Kaufman , Asta Paredes , Vito Trigo , Clay von Carlowitz
Directors: Lloyd Kaufman
Country: USA
Release: 2013-11-01
More Info:
  • Lou Lumenick

    Imagine the French lesbian romance “Blue Is the Warmest Color’’ as a raunchy American exploitation flick with loads of fake gore. That’s a rough idea of the latest from Lloyd Kaufman, the exuberant shockmeister whose Troma Team is celebrating its 40th anniversary this year.

    New York Post Full Review
  • Robert Abele

    At Troma, puke-green is the warmest color.

    Los Angeles Times Full Review
  • Jeannette Catsoulis

    Mr. Kaufman’s talent can be debated, but his love for his job is stamped on every garish, oozy frame.

    The New York Times Full Review
  • Joshua Rothkopf

    The movie hinges on a lengthy lesbian sex scene between in-on-the-joke leads Asta Paredes and Catherine Corcoran; "Blue Is the Warmest Color" this ain’t.

    Time Out New York Full Review
  • Gabe Toro

    The picture isn’t plotted with story beats, only shock moments.

    The Playlist Full Review
  • Rob Staeger

    This sequel comes off as both sillier and crueler than the original, mixing sight gags and labored puns with a vicious assault on a sex-ed teacher, and, well, "duck rape."

    Village Voice Full Review
  • Joe Leydon

    The term “freewheeling” does not begin to describe the slapdash, anything-goes quality of the screenplay co-written by Troma mogul Kaufman.

    Variety Full Review
  • Drew Hunt

    Because it actively defies and outright ridicules all notions of aesthetic intent, proper form, and moral propriety, this lazy Z-film pastiche is essentially impervious to standard critical evaluation.

    Slant Magazine Full Review
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