Teenage Mutant Ninja Turtles (1990) - 8/10
I mean, this is probably getting a nostalgia boost score-wise, but this was a really fun revisit to a 1990 classic. Yes, it looks silly. In fact, many aspects of it are silly. But there’s actually a solid movie here that I think holds up incredibly well. I also think it continues to outshine the more “modern” attempts at reviving this series over the years (although the most recent animated take was pretty decent). Let’s jump in the time machine and see how the rubric shakes out.
1. Acting
This is an intentionally cheesy film, and the performances are therefore pretty cheesy. With that said, there are some emotional moments built in that are actually fairly touching. The film is, of course, anchored by the four titular characters, who were played by a combination of performers. We get decent voice-over work from Robbie Rist, Corey Feldman, and Brian Tochi. But exceeding them—or at least heavily complementing them—are the puppeteers Josh Pais, Michelan Sisti, and Leif Tilden. A lot of the performances are sold through the body language and facial expressions of the Turtles themselves.
We also get some good performances from the supporting cast. Judith Hoag fluctuates at times between “too big” and pitch-perfect as reporter sidekick April O’Neil. Similarly, Elias Koteas hits more than he misses as the brash vigilante Casey Jones. Perhaps the most grounded performance goes to the giant rat Splinter, played by Kevin Clash, who is often at the heart of the script’s more emotional beats.
I also took one last acting note, which was simply: “Sam Rockwell!!”
2. Cinematography
The “look” of this film is very much that of a ’90s movie. The color grading, style, and lighting all feel very conventional in that sense. However, I actually thought the movie was shot very well. There are some moments that don’t look great or don’t hold up, but the camera is very energetic and often framed in smart ways that hide some of the obvious limitations the filmmakers had to contend with when shooting the Turtles.
There’s also a lot of stylish flair built into the shots, along with a willingness to stay with the action or linger in wide frames. It just has a really fun vibe throughout.
3. Production / Costume Design
I really love the sets in this film. They’re full of detail and all have a distinct feel. The Turtles’ sewer home, for instance, is completely decorated with repurposed or reclaimed items and feels appropriately messy—as if four rambunctious teens live there. The villains also get an elaborate hideout that looks like a teenager’s secret hideout fever dream.
April’s apartment/consignment store has no shortage of items, many of which are built directly into the choreography of the eventual fight scene between the Turtles and the Foot. And the brief reprieve the Turtles get at April’s farmhouse is full of dusty, rusted set dressing that both sells the rural context and gives the characters a peaceful place to regroup.
The other major element here is, of course, the puppets and animatronics used to bring the Turtles and Splinter to life. Unsurprisingly, the costumes were created by Jim Henson’s Creature Shop and consisted of foam rubber suits worn by actors/puppeteers, paired with animatronic masks controlled off-camera by technicians. The masks even utilized newer technologies at the time, including cameras that recorded the technicians’ lip movements and translated them to the masks for more accurate mouth animation.
While I can understand someone watching this for the first time thinking the designs look silly, they’re actually a pretty faithful recreation of the original comic books.
4. Writing
What surprised me most about rewatching this film is how tight the screenplay is. It’s constructed very efficiently, with exposition and character building woven naturally into almost everything that happens. It’s also quite funny, with the Turtles constantly dissolving into bits—especially in the middle of fights.
One of the film’s longest sequences takes place at April’s apartment after Splinter is captured by the Foot. It opens with the Turtles watching April give a TV interview, during which she delivers exposition about the Foot’s origins. As Mikey and Donatello gawk at her on TV, Raph and Leo begin arguing about their next move. Their fight highlights their differing personalities, while Mikey and Donatello sneaking away from the yelling showcases the group’s dynamic.
As the argument concludes, Raph goes to the roof to cool off, which sets up the next beats of the sequence. First, Casey Jones spots Raph on the roof, setting up his later involvement. Second, Foot soldiers arrive to ambush the Turtles. We then cut back inside, where April returns and shows off the consignment shop below—the eventual setting for the fight.
Even smaller moments get paid off. For example, as the Turtles explore the shop, Mikey sneaks up on one of his brothers with a pair of cymbals and scares him. It plays as a joke at first, but later Mikey uses those same cymbals against a Foot soldier during the fight. Separating Raph from the group also leads directly to the Turtles retreating to April’s farmhouse so he can recover and the team can reconcile.
Beyond its structure and efficiency, the film is genuinely funny. The Turtles may behave more like how an adult thinks teenagers behave, but the jokes land, and the relationships between them are where the dialogue shines brightest. Tonally, it’s very silly—but when your main characters are giant ninja turtles, there’s really only one direction to go.
While the script is efficient, it also slows down to lean into comedy and character moments. Having a Domino’s delivery guy bewilderedly slide a pizza into the sewer while arguing with Mikey about the price is just one of many examples of the writers injecting fun into the film.
5. Sound Design
Much like the look of the film, the sound design is very ’90s—and in this case, that’s not a bad thing. The silly, campy tone fits the movie perfectly, and the nostalgia of “Turtle Power” definitely got me smiling.
Beyond that, the over-the-top swooshing effects and exaggerated punching and kicking sounds are pitch-perfect for a movie like this.
6. Editing
I often complain about movies that “tell” instead of “show” when it comes to exposition. This film smartly aims for a middle ground with a “show and tell” approach. The opening features April’s voiceover reporting on a crime spree while a simultaneous montage shows the thefts taking place.
We see this again around the midpoint at April’s farmhouse, but this time it’s emotional exposition rather than plot. As April journals about where each character is emotionally, we transition between short vignettes that give the audience a breather after an intense battle. It’s not groundbreaking, but it’s well executed and keeps the pacing strong.
The editing also does a lot to enhance the comedy. There are constant cutaway gags and well-timed edits that highlight the bits and visual jokes the Turtles are doing.
7. Visual Effects
Most of the effects here are practical. There are a few minor VFX moments, including a stylized stop-motion/puppet-based flashback sequence and an ethereal blue flame double exposure during the Turtles’ meditation scene.
8. Originality / Strength of Adaptation
I’m not deeply familiar with the comics, but those who are generally regard this film as very faithful to the original run—including co-creator Peter Laird.
9. Stunt Coordination
The stunt performers are obviously limited in what they can do while wearing the Turtle suits. The encumbrance makes more elaborate choreography difficult. That said, one of the strengths of the fight choreography is its use of the environment. Whether it’s Donatello getting dunked into a fish tank or Mikey having his face dragged across piano keys, the team constantly finds creative ways to work around the suit limitations.
The fights may not be the most intense ever put on film, but they’re entertaining and consistently tell a story.
10. Direction
Steve Barron is a fairly prolific music video director but a relatively minor film director. However, those music video sensibilities clearly helped TMNT, particularly in its energy and visual creativity. Nothing here is groundbreaking, but it’s competent, confident, and tonally cohesive throughout.
It also feels very collaborative, with the acting, writing, editing, stunts, and sound all working together effectively. You really can’t ask for much more from this kind of film.
Legacy / Final Thoughts
As I said at the beginning, the score here definitely gets a bump from nostalgia. But I was pleasantly surprised by how well constructed the film actually is. And considering it was made over 30 years ago on a relatively minuscule budget of $13.5 million, that achievement is even more impressive.
By the end of its theatrical run, the film earned an excellent ROI, bringing in $202 million worldwide, though critical reception was more mixed. Many critics dismissed it as annoying and childish, while others paradoxically felt it was too dark and violent for kids.
I think audience and time have ultimately won out. TMNT still holds the crown as the best film adaptation of the titular turtles, and it is a surprisingly good early superhero film.
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