In 1990, the Turtles all looked the same, and could only be differentiated by their coloured eye masks. TMNT (2014), by contrast, is a textbook example of flanderization: a media phenomenon that describes how a single minor character trait can be exaggerated over time until it completely consumes the character (named for friendly neighbourino Ned Flanders, who began his animated life as simply a competent, pious foil to the idiotic, blasphemous Homer Simpson, and who was eventually “Flanderized” to the point where he is now portrayed as a religious fanatic). This is only element a Teenage Mutant Ninja Turtles film needs in order to succeed – at least in terms of connecting with the audience. This is perhaps the only area in which the film excels: the depiction of the Turtles themselves, who are characterized, likeable, and who spend most of the film being goofballs.
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We learn that Leonardo, despite feeling the weight of responsibility as the de facto leader, would rather crack wise with his brothers than be a serious soldier. We learn that Raphael, ostensibly the film’s protagonist, embodies the rebelliousness of teenage life – he disobeys Splinter and ventures out of the sewer onto the grimy, pre-Giuliani streets, his poorly-disguised shell bulging out from under a trench coat. The important part is that we establish who these characters are, and that the majority of the film’s screen-time is given over to their inter-team antics.
We’re thrust straight into the cartoonish, comedic lives of our four green-skinned leads with little explanation (which comes later, in the form of too-little-too-late expository dialogue), but this is okay – really, everything you need to know is already there in the title.
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There is only a small slice of the film continuum in which you can get away with rubber Jim Henson turtle suits, and director Steve Barron takes full advantage. TMNT (1990) understands, on a fundamental level, that this is not a film to be taken seriously.
Our heroes, in Teenage Mutant Ninja Turtles (1990)
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