It’s in an NYC that feels lived in, storied, and more than a little greasy, all of which contributes to the believability of four crime-fighting mutant turtles and their master, Splinter, living in the sewers and eating pizza. We throw around the words “dark” and “gritty” in response to modern comic book movies all the time now, but Teenage Mutant Ninja Turtles, a year after Batman (1989), went all in on its production design, and in this case it was New York and not a fictional Gotham City. Even revisiting it last weekend for the first time in almost 20 years, I was struck by how grim the film looks.
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There was a level of horror to the world, at least for someone whose best estimation of horror movies was gathered from VHS box art at Blockbuster. Compared to Superman, Teenage Mutant Ninja Turtles was strikingly dark, and I remember thinking at the time that it was what all adult movies must look like. Never one to commit halfway, I saved my allowance, and, with a few extra bucks thrown my way by dad in support of the endeavor, I bought all three Teenage Mutant Ninja Turtles movies from Suncoast Video. The mid-’90s didn’t offer the array of comic book films we have today, and as a kid deemed too young for Tim Burton’s Batman, Teenage Mutant Ninja Turtles was the only film outside of Richard Donner’s Superman (1978) that gave me a chance to see characters I’d familiarized myself with in cartoons and action figures brought to life.
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Before I ever saw Barron’s film, I was well acquainted with the TMNT, which added a layer of authenticity to the movie when I finally did see it. Turtles were cheap and easy to come by, which made them too enticing for a kid with a pocket of allowance money to resist.
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KB Toys was a treasure trove for discounted TMNT merch, and VHS copies of the memorable animated series could be found anywhere from Dollar General to Burlington Coat Factory. To say there was an overstock of TMNT merchandise in 1995 following the middling box office of Teenage Mutant Ninja Turtles III (1993) is putting it mildly. My late arrival, which came right before the ill-received live-action series Ninja Turtles: The Next Mutation (1997), was something of a blessing for me. I’ll be the first to admit that my affinity for the property was a defining aspect of my childhood, though I was born a couple years too late to experience the peak of Turtlemania. It’s more than childhood nostalgia that makes Teenage Mutant Ninja Turtles such a beloved film. And there has been a popular, unifying opinion: Steve Barron’s Teenage Mutant Ninja Turtles (1990) is best onscreen translation of the heroes. The style in which they’ve been depicted may have changed, and their shade of green has varied over the years, but the TMNT have never found themselves stuck in the sewers for long.
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Across six theatrical films, five TV series, an animated crossover with Batman, a bevy of video games and countless comic book appearances, the TMNT have embedded themselves into popular culture in a way that few, if any, other independent comics creations have. Unlike other fads of the late ’80s and early ’90s that had their brief time in the sun and are now best recalled by their place in BuzzFeed listicles, Teenage Mutant Ninja Turtles has lived well past its “mania.” Since their comic book debut in 1984, Kevin Eastman and Peter Laird’s ninjutsu-practicing reptiles, Leonardo, Donatello, Michelangelo and Raphael, have been present for every generation. Cowabunga! It’s been 30 years since the heroes in half shell kicked their way onto movie screens, propelling Turtlemania to the highest highs.