Tag Archives: Walkden Entertainment

Frankie Freako (2025): Goblin Mayhem That Misses the Mark

07 Monday Jul 2025

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From director Steven Kostanski—known for splatter-heavy cult hits like The Void and PG: Psycho Goreman—comes Frankie Freako, a horror-comedy that aims to dial up the chaos, crank the VHS fuzz, and unleash a pint-sized goblin menace into your living room. Unfortunately, while the film has all the right ingredients on paper, the end result is a noisy, uneven mess that never quite finds its footing.

The premise is pure midnight-movie bait: Conor, a tightly wound yuppie (played by Conor Sweeney), calls a late-night party hotline and accidentally summons a rock-and-roll goblin from hell—Frankie Freako, voiced with glee by Matthew Kennedy. What follows is a barrage of low-budget practical effects, manic energy, and a throwback aesthetic that tries to marry the weirdness of Ghoulies with the gross-out humour of Garbage Pail Kids.

Kostanski, whose visual creativity is rarely in question, fills the screen with rubbery monster effects, neon lighting, and practical gore. It’s clear he’s having fun, and fans of Manborg or Father’s Day will find familiar vibes here. But unlike those earlier works, Frankie Freako struggles to balance its tone. The gags are more grating than funny, the pacing stutters, and despite its short runtime, the film often feels stretched thin.

Conor Sweeney gamely leads the charge, surrounded by a cast of Kostanski regulars and internet personalities like Rich Evans and Mike Stoklasa from Red Letter Media. Their presence adds a layer of cult credibility, but the script gives them little to do beyond mugging through absurd scenarios. Kristy Wordsworth and Adam Brooks add some spark, but it’s not enough to elevate the film from feeling like an overlong YouTube skit.

The real shame is that Frankie Freako could’ve been a chaotic gem if the humour had landed more often, or if the titular goblin had been used with more narrative bite. Instead, it’s a film so desperate to be outrageous and off-the-wall that it forgets to be consistently entertaining.

The Prognosis:

For die-hard fans of Kostanski’s DIY style and ‘80s gross-out nostalgia, Frankie Freako might still have some charm. But for most, it’s a party line best left unanswered.

  • Saul Muerte

Outbreak (2024) – A Predictable Descent into Trauma

30 Monday Jun 2025

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Directed by Jeff Wolfe, Outbreak promises psychological dread and emotional turmoil against the backdrop of a creeping viral catastrophe—but ends up delivering little more than a tepid, trauma-soaked shuffle through familiar terrain.

The film follows a State Park Ranger (Billy Burke) and his wife (Alyshia Ochse) as they navigate the emotional wreckage of their teenage son’s disappearance, only to be confronted by a mysterious outbreak that further destabilises their world. As the infection spreads, so too does the sense of despair—but unfortunately, not much tension.

Billy Burke anchors the film with an earnest and committed performance, his weathered presence lending weight to otherwise limp material. Wolfe allows plenty of room for grief to dominate the narrative, but the pacing is sluggish, and the dramatic beats soon feel repetitive. Rather than building momentum, Outbreak spirals into melodrama, with a script that too often leans on genre clichés and a plot that telegraphs its twists from miles away.

There are a few flashes of atmosphere—some moody cinematography and eerie silences—but the film’s tonal heaviness overshadows its horror ambitions. The virus metaphor is serviceable, and by the time the film reaches its climax, the emotional payoff feels muted and overly familiar.

Despite its promising premise and a solid cast including Raoul Max Trujillo, Taylor Handley, and Jessica Frances Dukes, Outbreak plays it safe when it desperately needed to take risks. Watchable, sure—but only for the curious or the committed fans of the cast. For most, this is a slow trudge through thematic terrain that’s already been better navigated by others.

Outbreak will be available to rent or buy on DVD & Digital across Apple TV, Prime Video, Google TV, YouTube, and Fetch (AU) from July 2nd.

  • Saul Muerte

Movie Review: Outpost (2023)

11 Monday Sep 2023

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Writer, director Joe Lo Truglio makes a curious choice for his feature length directorial debut.

We initially side with Kate (Beth Dover – Orange Is The New Black) a victim of domestic violence, but decides to remain head strong and vigilant in her recovery process.

Her decision is somewhat marred however as she ventures to a remote location to mend her wounds, which just so happens to be an outpost designed to spot fires in the surrounding woodland and alert the authorities to prevent widespread.

The issue is that by segregating herself from the world, albeit within range of a local town community, she not only is running away from her fears but is also doing so in a place where she is forced to live with her own thoughts, surrounded by the threat of danger, lurking at any moment. Naturally, Kate is on hyper alert at all times nursing herself through the aftermath of a traumatic experience.

All of this bodes well in theory and people seem to be bending over backwards to support her needs so that she can feel that sense of accomplishment, but things soon start to unravel as her paranoia sets in and her trepidation escalates.

It is from this point that there are clumsy choices that soon push the viewer from empathy to disdain, as gradually Kate goes from victim to  assailant, acting out her pent up aggression and unleashes on all who cross her path.

Whilst you can understand the transgression, the twists and turns she takes in order to get there are drastic, forcing the viewer to disconnect with our initial protagonist and abandoned without any sense of direction or where their loyalty should belong.

The Prognosis:

For a debut feature, Joe Lo Truglio goes bold, but fails to pull off his vision due to a lack of cohesion, nor depth in his skill set for it to land successfully.

A lot of promise, but ultimately stranding the audience without a solid ground from which to draw conclusions from.

– Saul Muerte

Outpost (2022) is available on major streaming platforms in UK & Ireland from September 11th and Australia & NZ from September 13th.

iTunes Link:  https://itunes.apple.com/au/movie/outpost-2022/id1700740637

Movie review: Daughter (2023)

12 Sunday Feb 2023

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It’s been a far cry since Casper Van Dien declared revenge on those bug creatures in Starship Troopers for what they did to Buenos Aires, but it’s great to see him on the screen in a different guise as the misguided patriarchal figure in his latest feature Daughter.

Presented as a cult-like, claustrophobic thriller, this directorial debut from Corey Deshon has enough tension built up to fuel the oppression for Van Dien’s Father character to channel the hatred and desire for control that he upholds. And he doesn’t hold back on delivering such a taut and highly strung person; a tirade of manipulation that ripples with devastating effect through the makeshift family dynamic.

With the titular daughter (Viven Ngô) brought into the household to fulfil the requirements of a sister to the precious Brother (Ian Alexander) to play out this misogynistic and outdated answer to salvation. 

Rounding out the quartet is Mother (Elyse Dinh) who also cuts a fine performance of the restrained, and fear driving matriarch, a character who shifts through the motions of obedience, self-protection, and salvation with effortless and minimal motions. Dinh along with Ngô are the pivotal characters in propelling the slowburn of a narrative through to its conclusion and serve as the juxtaposition to Van Dien’s Father. With the seemingly compliant Brother in the mix too, it’s hard to know when or who will break, as like a tightly wound clock, the springs are going to snap and all that tension will come pouring out swift and fast.

The Prognosis:

While some will feel that the pace is too restrained, and that the payoff is all too hasty, in my mind Deshon is able to craft out a painful picture of suppression through the gaze of male-dominated world.
All the performances are subtly executed and deftly supported by a tightly shot sequence of events on 16mm footage thanks to cinematographer Hana Kitasei helps amplify the claustrophobia instilled throughout.
You’re either going to resist the flow or glide along, but one things for sure, Deshon has made a fantastic impression in wielding his vision.

  • Saul Muerte

#Daughter is Available on all major Digital platforms, including Apple iTunes / Google Play in Australia & New Zealand, from February 22nd.