Troll 2 – Film Review

Troll 2, released in 1990, has secured a place in cinematic history, albeit for reasons its creators likely never intended. Directed by Claudio Fragasso under the pseudonym Drake Floyd, this film, oddly, contains no trolls (opting instead for goblins), and bears no genuine narrative connection to its nominal predecessor. It stands as a fascinating study in filmmaking gone awry, an endeavor so steeped in confusion, poor decision-making, and bewildering creative choices that it transcends traditional critique. Herein lies a detailed examination of why Troll 2 not only fails to meet any conventional standards of quality but also manages to become an iconic example of cult cinema, celebrated for its very flaws.

The plot, a term used lightly here, centers on the Waits family as they embark on a vacation to the small, secluded town of Nilbog (subtly, Goblin spelled backwards). The narrative attempts to weave themes of environmentalism, consumerism, and familial bonds into a cohesive storyline but ends up lost in a labyrinth of illogical decisions and nonsensical twists. The son, Joshua, is visited by the ghost of his grandfather, who warns him of the goblins that inhabit Nilbog, leading to a series of increasingly bizarre encounters and revelations.

One of the most glaring issues with Troll 2 is its script. Laden with stilted dialogue, nonsensical plot developments, and characters whose decisions defy any rational understanding of human behavior, the screenplay seems disconnected from any semblance of reality or logic. The characters are thinly drawn, lacking depth or believable motivations, often behaving in ways that serve the plot’s convenience rather than any coherent character development. This flaw is exemplified in a scene where Joshua urinates on the family’s dinner to prevent them from eating food tainted by the goblins—a moment that defies any reasonable suspension of disbelief and highlights the film’s disconnect with authentic human reactions.

Adding to the film’s struggles is the quality of acting. The cast, composed largely of non-professional actors, delivers performances that range from the wooden to the bizarrely over-expressive. This inconsistency in performance adds an unintentional layer of absurdity to the film, detracting from any attempt to create tension or emotional resonance. Particularly noteworthy is the infamous line delivered by Darren Ewing, They’re eating her…and then they’re going to eat me…OH MY GOOOOOOOOOD!—a line that has been immortalized on the internet for its awkward delivery and emblematic representation of the film’s overall quality.

Director Claudio Fragasso’s choices throughout Troll 2 further contribute to its downfall. There’s a palpable sense that Fragasso aimed to create a serious horror film, yet the direction often veers into the territory of camp and farce without any acknowledgment of its absurdity. The film’s visual effects and makeup are subpar, even by the standards of low-budget horror, with the goblins appearing more laughable than frightening. Combined with a disjointed and erratic editing style, Troll 2 lacks any semblance of atmospheric tension or visual coherence.

One cannot discuss Troll 2 without addressing its complete disregard for the laws of its universe. The goblins’ plan, which revolves around turning humans into plant matter to consume them, is as convoluted as it is poorly explained. The film flits between scenes with little concern for narrative flow or consistency, creating a disjointed viewing experience that leaves audiences more perplexed than engaged. Furthermore, the film’s climactic resolution, involving a double-decker bologna sandwich as a weapon against vegetarian goblins, epitomizes the movie’s lack of serious thought in crafting a compelling or logically sound conclusion.

However, it is in these very flaws—the inept storytelling, the ham-fisted acting, the bizarre creative decisions—that Troll 2 finds its unintended legacy. The film has garnered a cult following, with fans celebrating its inadequacies and reveling in its status as a so-bad-it’s-good cinematic experience. Viewing parties, public screenings, and a dedicated fan community have embraced Troll 2 for its entertainment value, albeit not in the manner its creators might have hoped.

Troll 2 fails on nearly every conceivable level as a film. It is a bewildering mishmash of bad decisions, poor execution, and a profound misunderstanding of what makes a horror movie effective or compelling. Yet, its very failures have paved the way for a unique form of reverence. Troll 2 stands as a testament to the idea that cinema is not just about storytelling, artistry, or coherence, but also about the shared experience of its audience—however unintentionally hilarious that experience might be.