The abovementioned films succeeded through their unrelenting or blackly funny assault on one’s sensibilities. The only assault on one’s sensibilities that Street Trash achieves is one of gratuitous unpleasantry – every second word in the film is ‘fuck’, and everywhere else director Jim Muro serves up rapes, corpse fuckings, urinatings on dead bodies and an incredibly moronic sequence involving a chase for a severed penis. Far being it from one wanting to seem a prude, but never has their seemed so little point to a film and never has there been a film so unable to locate its celebration of bad taste within the context of a narrative. The entire selling point of the film is its meltdowns, yet they are wholly extraneous to the plot. In fact there is almost no discernible plot to the film whatsoever.

Street Trash is not a film without its minor merits – the camerawork is surprisingly slick and Jennifer Aspinall’s psychedelic meltdown effects are accomplished and inventive – far better than many in some high-budget productions. And there is a witty cameo from James Lorinz of Frankenhooker (1990) as a busboy who starts insulting his Mafia boss before finding he can’t get into a witness protection program.

Street Trash is the only film that director Jim Muro has ever made. Subsequently Muro has gone on to become a Steadicam operator within the Hollywood mainstream on top-drawer films like The Abyss (1989), Dances with Wolves (1990), Terminator 2: Judgment Day (1991), The Doors (1991), True Lies (1994), Strange Days (1995), Titanic (1997), The Fast and the Furious (2001) and the X-Men sequels. Producer Roy Frumkes went onto write the scripts for the Dutch horror film The Johnsons (1992) and the action film The Substitute (1996), as well as direct/produce Document of the Dead (1989), a documentary about George Romero. Frumkes also subsequently made a documentary The Meltdown Memoirs (2006) about the making of Street Trash.