Movie Review: Street Trash
One-liner: A neon-drenched, gooey and self-aware reimagining that proves one man’s trash is a cult film fan’s treasure.
Based on the 1987 cult classic of the same name, this old school reimagining of Street Trash finds its soul in a dystopian Cape Town. Having directed the hallucinogenic Fried Barry, Ryan Kruger makes an interesting gear shift here – venturing into horror “stoner” comedy terrain. Remaining firmly within the realm of sci-fi horror-comedy, Kruger tackles this body horror reboot by injecting it with underground cult appeal and a palpable sense of glee. As the title suggests, this is a low-budget horror affair that – much like its grimy narrative – revels in its own “trashy” aesthetic.
The film centres on Ronald, a homeless man who, along with his band of “merry men”, decides to take down a tyrannical mayor hell-bent on eradicating the city’s homeless population. Upon discovering that a toxic gas is being used to liquefy the impoverished, Ronald enlists his homeless friends with a little help from local thugs in a bid to dismantle the mastermind behind this lethal citywide project. There’s a strong ’80s vibration to this version of 2050, offering a biting social angle within its Cape Town setting.
The Mother City serves as a contentious backdrop, given its real-world history with homelessness, making it a “hotbed” for a movie set in the not-too-distant future. The horror is strung together with bubbling gore and dismemberment – victims essentially become neon puddles as their skin melts away. This sub-genre choice will certainly appeal to fans of the original, maintaining that same imaginative, “melt-movie” ooze.
The neon colour palette and grotesque art direction are effective, even when leaning into deliberate camp. These interludes are given ample screen time, maintaining a cult feel and dark comedy flair. Resourcefully, the visual aesthetic ensures the low budget is stretched, keeping a gritty realism to the actors and spaces while veering away from overly polished digital effects to leverage old school FX charm.
“Let’s take over the world…”
The characters are brought to life by savvy character-actor casting. Sean Cameron Michael takes on the lead role of Ronald; having played an asylum patient in Fried Barry, he taps into a similar manic energy here that anchors the film. He’s supported by Donna Cormack-Thomson as Alex, who brings much-needed heart to the picture, establishing a surrogate father-daughter bond opposite Cameron Michael. While the dialogue can feel a bit forced when playing to the drama, their chemistry remains a highlight.
Most supporting characters are fairly inconsequential in terms of story, yet they add texture and a thick layer of character and comedy to the team dynamic. Notably, Kruger himself voices a small, vulgar blue creature, leaning into the “wink-wink” inside-joke nature of the production while Lloyd Martinez Newkirk, Shuraigh Meyer, Gary Green and the late Joe Vaz add flavour to their comical sideshow and team effort. Warrick Grier and Andrew Roux are lovably detestable villains and it’s always welcome to see the likes of Carel Nel, Suraya Rose Santos and the late Jonathan Pienaar taking on bit parts.
Street Trash is a wild ride made entertaining through its sheer passion for grotesque visuals and gritty, street-level shenanigans. It’s an underdog horror movie that plays to the beat of its own drum and you have to appreciate the dedication of Kruger’s vision and its madcap spirit. This bold endeavour echoes the gritty South African flavour of films like Chappie, yet it’s somewhat let down by an uneven tone, a lack of charm and crass filler. Unfortunately, the loose plotting, lack of character depth and “sketchy” bits occasionally undermine the structural integrity of the film – leaving it feeling, at times, like a gooey puddle. Still, it’s a faithful splash in the cesspit of ’80s-style horror that will undoubtedly find its niche audience.
The bottom line: Twisted
