MIDWEST WEIRDFEST: The Last Frankenstein (2021)

Between a depressing life and a dead-end relationship with Penny (Jana Szabela), Dr. Jason Frankenstein (William Barnet) finds himself as the last of his family, stuck working in a hospital job that’s beneath him and far away from every finishing the experiment that his family has worked on for generations.

Fate has different plans when a very strange patient arrives and he gains the help of two drug-addicted paramedics and a nurse called Paula (Keelie Sheridan) who is quite eager to make life out of death, no matter how many people need to get murdered along the way. But when the creature they create (Michael Wetherbee) escapes, things get bad quick.

Robert Dix (Forbidden PlanetFrankenstein’s Daughter) came out of retirement to be in this movie, so that’s pretty cool. As for the film, it may move slow in parts, but it has an incredible degree of practical effects that blew me away, from the surgical moments to the look of its monster to blood spray and beheadings. Yes, two of them.

Director and writer David Weaver is making his first feature here and while there are some pacing issues, characters that seem to disappear and long stretches where you want something to happen, it also has some great effects from Jared Balog and Shawn Maloy, as well as the sheer power that comes from a moment when its Frankenstein’s Monster goes one on one with a bear, and if there’s anything Leslie Nielsen taught us, it’s that when a man fights a bear barehanded, it’s always the best thing ever.

I’m excited to see what Weaver makes next, because even with my minor issues with the movie, I stayed with it, which is way more than I can say for bigger movies with better budgets. Between the art direction, the look and having an actual idea, this movie begs for your attention.

The Last Frankenstein plays MidWest WeirdFest on Sunday, March 6 at 6:30 PM CST. You can get tickets and more information on the MidWest Weird Fest website. To learn more about the movie, visit the official Facebook page and the Gila FIlms website.

Help (2021)

A painful breakup sends Grace (Emily Redpath) to Liv (Sarah Alexandra Marks) and Edward’s (Louis James) country manor. Before she even sets foot in their home, a neighbor (Blake Ridder, who also directed and wrote this) tries to warn her. But about what?

Well, Grave and Edward aren’t getting along too well. And Grade wonders, is it her fault? After all, she did sleep with Edwae the last time she was around them. And then she notices the bruises all over her friend.

For a debut movie with three young actors and a director making his first full-length film, Help works way better than it has any right to. It’s tense, it has some twists and it tells its story well.

Help is available On Demand and digital from October Coast.

Heels Season 1 (2021)

Full disclosure: I’ve been a professional wrestler for nearly 27 years, so I’m going to be somewhat tough on this show, because I have a unique insight into its realism.

I’m excited that it exists — it’s not a cheap wrestling cash-in, as its executive produced by Emmy nominee Mike O’Malley and Academy Award nominee Julie Yorn, plus it boasts a solid cast.

Heels is about the Duffy Wrestling League, which is owned by the son of its creator, Jack Spade (Stephen Amell, who was on Arrow* and has actually competed in several matches; he broke his back — literally — doing stunts for this series). Jack has the worst job in wrestling, as he not only owns the promotion, but is its main writer/booker, which means that everyone intensely loves and hates him, often at the same time.

The small building that they run every week may seem small to some, but I spent the better part of a decade or more working for a family-owned promotion not unlike the one in this movie, one that had very much its own family drama. Not exactly like this show, mind you, but the bonds of family and who got the push toward fame and those upset by it? I’ve lived that.

Ace Space (Alexander Ludwig), Jack’s brother, starts the series as a face, the exact opposite of a heel. If you don’t know, a heel is the antagonist and the face is the hero. What the series gets right is that most career heels tend to be amongst the finer people you meet in wrestling and there’s a very interesting reason why: generally, the heel is more concerned with putting the match together and making the babyface look good. Most babyfaces are only concerned with looking good. This division between them goes beyond the ring and into life, so I can tell you with some authority that the majority of babyfaces I’ve met are heels in real life and vice versa.

Meanwhile, the other wrestlers in DWF struggle in their wrestling careers, like Crystal Tyler (Kelli Berglund, who is great on this show), a valet who dreams of more. There’s also Rooster Robbins (Allen Maldonado), who dreams of the main event; Apocalypse (Pittsburgh Steeler James Harrison) who conducts AA meetings in the ring during the week; BIg Jim Kitchen (Duke Davis Roberts), who is retiring; Bobby Pin (Trey Tucker), a young wrestler from Texas who loves ranch dressing and might just be a big kid and the masked Diego Cottonmouth (Robby Ramos). The way the boys interact with one another rings quite true again and feels pretty authentic.

The series sets up the battle between what Jack sees as right and what Ace wants and how family life — Jack’s wife Staci (Alison Luff) and son Thomas (Roxton Garcia) are often last in line after wrestling — suffers when the drug that is the ring is calling.

Speaking of drugs, perhaps the most realized and realistic character is Wild Bill Hancock (Chris Bauer, The Machine from 8MM), who feels like every former star facing his own decline that I’ve ever met. Bauer is an incredible actor, able to convey not only the emotional and physical turmoil that Hancock deals with on a daily basis, but also gets across his danger and ability to use heat in every situation, a person who is constantly working everyone, including himself. He’s fascinating in that he’s a villain — he left Duffy and tag partner Tom Spade (David James Elliott, that dude your grandmother used to remember what sexy was on J*A*G*), Jack and Ace’s father, behind. He’s also someone trying — not always — to change who he is, particularly with backstage producer Willie Day (Mary McCormack, always incredible).

There are a few missteps. For all the attention given to Rooster and his complaints about being lost in the shuffle, his character suffers the same fate in this show. Alice Barrett Mitchell does a good job of playing Jack and Ace’s mother Carol, but she doesn’t seem like someone who spent their life around wrestling, unless the creators were looking for a parallel to Stu Hart’s wife Helen. And for all the wrestlers that seem so realistic, CM Punk’s portrayal of Ricky Rabies feels as if he’s playing a character from a horrible wrestling movie like Ready to Rumble. He seems jokey and inauthentic in every appearance. That said, Bonnie Summerville, who plays his valet Vicky, has a great moment with Crystal. And Mick Foley’s Dick Valentino needs to come back and be explored more; he’s based on Marc Maron and really pushes the idea that Jack needs to deal with the suicide of his father.

The other character that feels cartoony in this more realistic world is Florida Wrestling Dystopia** owner Charlie Gully (O’Malley, who once hosted Nickoldeon’s Guts and is the main showrunner for this series in addition to being the executive producer). He’s kind of a mix of Rob Black and Paul Heyman, but he comes off like David Cross running a hardcore promotion full of the worst stereotypes that people think of when they imagine independent wrestling.

With scripts by series creator Michael Waldron (the lead writer of the Loki series), Bradley Paul (Better Call Saul), Rodney Barnes (The Boondocks and several comic books), Daria Polatin (Castle Rock), Rachel Sydney Alter (The Society), Eli Jorné (the creator of Son of Zorn) and Eric Martin (Loki) and all the episodes directed by Peter Segal (Tommy BoyGrudge MatchGet Smart50 First Dates) the show feels and looks great.

My major issue — and honestly, I expected to dislike this show and actually really enjoyed it — is that no promotion that I’ve worked for on the level of DWF has complete scripts or production at this level. Having headsets on all the referees? Man, that seems really fancy. Most places I’ve worked at did things as silly as having someone take off their hat in the balcony when time was up.

Finally, in most places that I’ve worked, if Ace did what he did to Bobby — never mind that Jack nearly did the same thing to him — he’d end up getting a receipt sooner of later.

I’m really interested to see where the series goes from here. It was recently renewed and Variety shared a quote by Jeffrey Hirsch, president and CEO of Starz: “It’s clear from the critical and fan acclaim that the stories and characters from the Duffy Wrestling League have made a connection with audiences bringing a community that is not often found to premium TV. I’m excited for our amazing cast and executive producers to get back into the ring together for a second season.”

There’s no date announced as of yet, other than nearly everyone on the show is coming back, with Tucker (Bobby Pin) and Ramos (Diego Cottonmouth) have become series regulars.

I’m really excited that this entire series is out on DVD, as it allowed me to watch the show in several focused sittings. Here’s hoping season 2 delves more into Jack realizing that wrestling is always better when it’s called in the ring.

Heels: The Complete First Season is on Starz and is also available on DVD from Lionsgate.

*Just like Arrow, Amell’s character has to deal with the gun-related suicide of his father.

**I laugh every time they show footage of FWD — which is the inverted evil DWF, a neat writing trick — because it’s old TNA matches.

Robin Roberts Presents: Mahalia (2021)

Mahalia Jackson (Grammy award wining singer and Orange Is the New Black actress Danielle Brooks) became the Queen of Gospel as well as the voice of the civil rights movement. With a four decade career, Jackson was one of the reasons why gospel blues became so important to black churches throughout the U.S. And more importantly, during a time when racial segregation existed, she sold an estimated 22 million records and performed in front of black and white audiences.

The granddaughter of former slaces, Jackson was born into poverty in New Orleans. The church and music was her salvation, which is why she always wanted to deliver the Word of the Lord through her music. After years of being a singer anywhere she could find a place to sing, including funerals and churches, her recording of “Move On Up a Little Higher” reached number two on the Billboard charts. She did that without singing secular music, something she stuck to for her entire career.

With a story by Bettina Gilois (who also wrote Bessie, a movie about Jackson’s inspiration Bessie Smith) and a teleplay by Todd Kreidler, this tells the life story of Jackson in a very dynamic way. It’s directed by Kenny Leon, who directed the Hairspray Live! and The Wiz Live! TV movies.

The moments with Dr. Martin Luther King (Rob Demery) are very moving, particularly when he asks her to sing a song that he loves at his funeral, should he die before her. Of course, he did, and the moments where we see how Jackson was part of the civil rights movement should remind us that this was only sixty years ago.

While a Lifetime movie, this could have played theaters. For a subject that I wouldn’t think I’d enjoy, I can’t believe how much I was moved by this movie.

Robin Roberts Presents: Mahalia is now availble on DVD from Lionsgate.

A Banquet (2021)

Widowed mother Holly (Sienna Guillory, Jill Valentine from the Resident Evil movies) finds herself facing a crisis of faith over, well, faith when her teen daughter Betsey (Jessica Alexander, Glasshouse) undergoes a divine moment and claims that her body only exists to serve a higher power.

Could this be real? Or is the family still dealing with the suicide of Holly’s husband and the father to her children? And since Betsey found her father’s body, is she feeling the loss most of all as she cuts herself off from popularity and friends and even life?

And then one night, Holly finds herself lured into the woods, enchanted and now can’t stand to be around food, refusing to eat and never losing weight, making doctors question their medical training. In fact, she soon grows to actually fear even being in the same room as any nourishment, which is a problem, as Holly deals with the pain by making huge feasts that her sister Isabelle (Ruby Stokes) happily devours. And Holly’s mother June, played by Lindsay Duncan, is incredible and brings another type of pain to the story.

So what is behind all this? Mental illness? Possession? Depression? All of it? None of it? I’m tempted to use the cliche that the filmmakers want to have their cake and eat it too, but the truth is that this movie never really settles on any one reason. That said, it’s a stark meditation on loss and how that takes us to some incredbly bad places.

Director Ruth Paxton (making her first full length film) and writer Justin Bull (who wrote and directed Merge) ask what obsessions after loss are healthy — is getting really into figure skating as bad as having a glimpse at the apocalypse and losing your mind? — and which aren’t. The home that this all takes place in feels like the dark homes of people you’ve dated for brief moments and had time intersect to bring you into their family life for holidays and trap you inside places they knew so well and you found alien, foreboding and escape worthy.

It’s strange because this movie seems to be so sure of what it is in the first hour, then gradualy loses its faith within itself to take the film to where it needs to go. The hard part is that the start of the movie, the build and the dread is so great that the fact that it doesn’t stick a landing hurts worse than a typical movie. So many modern movies seem to have this same malady — the end should be as important as the beginning, after all.

A Banquet is available in select theaters, on digital plaforms and on VOD from IFC Midnight.

Last of the Grads (2021)

The Coast-to-Coast Killer is coming to town, just in time for high school graduation and the annual lock-in, which would seem to be the time to just lock everyone in their homes, but what do I know, I’m a guy who just watched hundreds of movies and attempts to make sense of them.

Sheriff Murray (Michael Vincent Berry) tells Officer Greg (YouTube and Twitch streamer Cr1tikal) that he knows the killer in coming to town, so maybe he agrees. Or maybe he just wants to say, “I told you so,” afterward.

Of course, the kids in class could care less about a killer coming their way. After all, they’ve been planning this night forever and aren’t they all going to live forever?

Things proceed as you imagine, but what you may not imagine is that this movie has a great special effects team and uses them to their fullest. There’s a ton of gore in this, including heads on poles, death by photocopier and so much more.

The first movie by directors and writers Jay Jenkins and Collin Kliewe, so you can forgive its two hour plus running timeand concentrate on the fact that they’ve turned around a half-way decent slasher in 2021, which feels like a majot accomplishment.

You can learn more about Last of the Grads on the Mill Creek site and order it from Deep Discount.

Laguna Ave (2021)

Russell (Russell Steinberg) was a musician but then an accident cost him his hand, so now he lives in a Los Angeles apartment complex with his girlfriend Rita (Stephanie Brait) and he’s just lost his last job because he keeps falling asleep at work. And then he sneaks back in and leaves a dump on the boss’s desk, which proves that he’s in no way ready for the world of adults. So while Rita keeps leaving for mysterious business meetings “up north” that she refuses to discuss with him, he ends up meeting the stylish, mysterious and very tall Gary (James Markham Hall Jr., nephew of Predator actor Kevin Peter Hall) and gets a new hand, a new outlook and well, he pretty much escapes from a movie that’s a black and white character study into a conspiracy comedy that combines equal parts of Tetsuo and Scanners with a side dish of Southland Tales.

And it’s all in black and white.

Gary is a believer in acceleration, a critical and social theory that proposes that social, economic, cultural and libidinal change should be pushed from within to create further radical social change. Seeing as how he’s been laid off and wants revenge as well, it seems only strangely cosmically perfect that Russell and Gary join forces.

Also, Russell has fantasies where he’s some kind of biomechanical black metal god, so there’s that.

Written by Paul Papadeas and directed by David Buchanan, this movie probably cost even less than the last streaming slasher or horror anthology that came my way, but is filled with more ideas and crazy moments than thirty of those films put together.

Laguna Ave is available on the Arrow Player. Visit ARROW to start your 30-day free trial. Subscriptions are available for $4.99 monthly or $49.99 yearly. ARROW is available in the US, Canada, the UK and Ireland on the following Apps/devices: Roku (all Roku sticks, boxes, devices, etc), Apple TV & iOS devices, Android TV and mobile devices, Fire TV (all Amazon Fire TV Sticks, boxes, etc), and on all web browsers at https://www.arrow-player.com.

Confession (2021)

Victor Strong is a wounded man (Stephen Moyer) who has taken Father Peter (Colm Meany, Star Trek: Deep Space Nine) hostage with the hopes of confessing to his sins before he dies.

Director and writer David Beton (who also directed The Hatton Garden JobTower Block and I Am Soldier under the name Ronnie Thompson) has that great idea line at the top and then ratchets up the tension throughout, continually leaving the viewer guessing as to whether Strong is the hero or villain.

But does keep it up the whole way through?

Is Willow (Clare-Hope Ashitey, Children of Men) a good cop, here to arrest him? Or has she brought her gun and badge into the church with mad intentions? And is Strong telling the truth when he says that all he wants is for his daughter to know the truth about why her mother died? And even more to the point, does the priest have secrets of his own?

The three leads are all solid, but after the set-up, it gets quite talky. And when you’d hope to see the point of view of each character given their own narrative shift, the story plays out in real time.

This feels like a stage play — it isn’t — with its solitary location and three leads. It works, but it feels like there was an opportunity to do more, to show more, but as it is, it’s not the worst thing that you can find in the world of streaming.

Confession is playing in select theaters and on demand from Uncork’d Entertainment.

SHUDDER EXCLUSIVE: Slapface (2021)

After the death of their mother, Lucas (August Maturo, The Nun and the son of Cory and Topanga on Girl Meets World) and Tom (Mike Manning) are each dealing in their own ways. Lucas begins to hide in the woods with a group of tough girls but mostly isolating himself, while Tom keeps getting in enough trouble that Sheriff Thurston (Dan Heyada, one of the best character actors ever) has to keep bailing him out.

The brothers also have a very abusive game that they play called slapface, which is basically continually slapping one another back and forth, the pain being used to get Tom past the pain he feels for having to discipline his brother when he can’t control himself.

Lucas does meet someone else that means something to him. And no, it’s not Moriah (Mirabelle Lee), one of the bullying young women — Donna and Rose are the others, twins played by Bianca and Chiara D’Ambrosio that are the kind of cruel women that terrified me as a child and fascinate me as an adult — that he has a crush on. There’s a witch in the woods named Virago (Lukas Hassel, Vandyke from Blacklist, wearing some incredible makeup) and she means no harm to him. But to anyone that hurts him? As for Tom, he’s also met a girl named Anna (Lieb Barer) who is falling for him but concerned with just how much he abuses his brother.

Originally a short film, Slapface doesn’t battle the issues that often come with go with an expanded running time. It’s tense, it’s horrific and it doesn’t even need the supernatural element to make that happen.

Director and writer Jeremiah Kipp has really put something astounding together with this movie, a film that’s frightening when it deals with humans and then goes even further by giving Lucas a force that only he can see, one that only wants his happiness, which comes at the cost of anyone who does him a slight.

You can watch this on Shudder.

Lockdown (2021)

This was once called COVID-19: Invasion.

And yes, that’s Kevin Nash — the one-time Diesel, Vinnie Vegas and Oz — playing a man named Rex who leads a militia that is looking to murder the homeless people living in a deserted school in the hopes that it’ll stop the newest and most deadly strain of COVID.

Director and writer Micah Lyons (The Runners) has created this story of a future that pretty much is tomorrow, which doesn’t exactly make me happy, but here we are. I mean, if this movie is to be believed, by 2035 — just thirteen years from today — there will only be 29 million people left on Earth. Rex asks his son Justin to look up the perfect man to lead the mission to kill off the street people, a former soldier named Hap Rollins, who refuses. Except that Hap soon realizes that his sister  Courtney is living in that school and will be targeted by the militia.

With a tagline like “If COVID doesn’t kill you, they will,” you kind of know what you’re getting into with this movie. I’d like to think that this isn’t how the world will go, but when I see the intolerance on both sides of the fight, it makes me realize that I probably should be loading up on the kidney beans like Hap and his wife.

I really want Kevin Nash to do more movies, because he’s an engaging personality and lots of fun. He just needs a role that uses his natural good humor and coolness to better advantage. He’s really good in the few minutes of screentime that he has, so hopefully he gets more of a chance to stretch soon.

Lockdown is available on DVD and VOD from Uncork’d Entertainment.