Tromaville Gets Another Strange Entry

Read Time:5 Minute, 54 Second

MOVIE REVIEW
Rise Of The Super Tromettes
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Genre: Action, Adventure, Comedy
Year Released: 2025, 2026 Blu-ray Troma Films
Runtime: 1h 32m
Director(s): Mercedes
Writer(s): Mercedes
Cast: Elizabeth D'Ambrosio, Mercedes, Knotty Peach, Jade Theriault, Bob Wright, Knight, Layla Kaufman, Macrame Culkin, Julio Quinones, Micah Vassau, Sadie Satanas, Loon e Lou, Meatflap, Cheetah Biscotti, Max Rock, Dave Reckoning, Rick Scott Stoner, Scott Rick Stoner
Where to Watch: available now, order your copy here: www.mvdshop.com or www.amazon.com

RAVING REVIEW: Reviewing a Troma movie by normal standards feels a little like complaining that a haunted house has too many jump scares. At a certain point, the mess is part of it all, and you have to understand that. RISE OF THE SUPER TROMETTES arrives with slime on its shoes, a dirty joke in its pocket, and absolutely no interest in behaving for anyone outside the converted. That doesn’t make it good. The truth is, it’s bad by most measures, yet it also makes it hard to dismiss as nothing.

The setup is pure Tromaville nonsense! A mysterious virus is infecting the men of Tromaville, and a team of female vigilantes, the Super Tromettes, must unite to fight back. That has the bones of a gender-flipped superhero parody with room for body horror, cheap costumes, gross-out gags, and the kind of political incorrectness Troma has built a whole empire around. Mercedes, serving as writer, director, producer, and star, clearly knows the sandbox she’s playing in. The movie doesn’t stumble into bad taste by accident. It sprints there, throws itself into the muck, and dares the audience to either laugh or leave.

That kind of commitment matters. For all the film’s problems, RISE OF THE SUPER TROMETTES isn’t timid. It doesn’t have the polished lifelessness of a low-budget project trying to imitate something. It looks cheap, sounds rough, acts reckless, and wears those limits like part of the costume. There’s a handmade energy here that gives the movie more personality than many productions on its level. You can feel people throwing themselves into an idea that probably made more sense in the preproduction meetings than it does on screen.

That’s also where the trouble starts. The film’s energy is real, but energy alone isn’t structure. Too much of RISE OF THE SUPER TROMETTES feels like a collection of ideas, bits, provocations, and crude set pieces pushed together without enough vibing to turn them into momentum. A movie this loud still needs shape. It needs escalation that feels earned, jokes that build, and chaos that lands with some precision. Instead, the film often drifts from one deliberately outrageous moment to the next, hoping attitude will cover the gaps.

The performances fit the Troma tradition of messy, amateur-adjacent commitment, though that’s both a feature and a constraint. Elizabeth D'Ambrosio, Mercedes, Knotty Peach, and Jade Theriault give the Super Tromettes an appearance that’s more memorable in concept than in execution. There’s clearly an attempt to create a team with its own superhero identity, but the characters rarely get enough definition to become more than attitude, costume, and function. In a stronger version of this, each Tromette would bring a sharper or more distinct dynamic. Here, the group sometimes feels like it’s assembled because the title promised they would be.

Some jokes have that old Troma blunt-force spirit, the kind where the sheer shamelessness becomes part of it. Others just sit there, counting on shock value without a second step. Gross-out comedy can work when it has timing, invention, or a reason to keep getting worse. RISE OF THE SUPER TROMETTES has the willingness to go there, but not always the control to make “there” worth visiting. Too often, the movie seems to believe that being offensive, sexual, messy, or loud automatically equals comedy. Sometimes it does. More often than not, it only gets halfway.

The feminist superhero framing is the most interesting and most frustrating part of the film. There’s something wild in the idea of a Troma answer to male-driven comic book mythmaking, especially one rooted in a virus attacking men and forcing women into action. The movie has the makings of a confrontational gender satire, but it keeps undercutting itself with choices that muddy the message rather than complicate it. That could have been fascinating if it felt deliberate. Instead, the film often seems pulled between empowerment, exploitation, parody, and fetish material without quite deciding how those pieces are supposed to grind against each other.

It wants to be ugly, tasteless, confrontational, ridiculous, and unfiltered. At that level, it succeeds more than you expect. There’s something to be said for a movie this unconcerned with respectability, especially in an era where so much genre filmmaking feels forced before it even reaches an audience. There’s a pulse here. Not always a healthy one, but a pulse. Mercedes and the cast commit to making something that belongs in the Troma gutter, and some viewers will appreciate its willingness to be strange, gross, loud, and wrong in all the expected ways. It’s obviously bad, but not empty. That distinction matters.

RISE OF THE SUPER TROMETTES flaws are too loud to ignore, even for a film designed to be bad. The pacing sags, the comedy misses more than it hits, the satire gets tangled, and the superhero parody never becomes as sharp as it could have been. Even so, there’s a scrappy, obscene, underground spark that keeps it from being a wash. It’s less a successful movie than a toxic artifact, one that will probably repel most viewers while giving Troma diehards just enough slime-covered weirdness to justify the trip.

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[photo courtesy of TROMA FILMS, MVD ENTERTAINMENT]

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