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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

Inside Man (2025): A Stylish but Uneven Dive into the Ruthless World of Roy DeMeo

04 Tuesday Mar 2025

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Crime dramas based on true events often walk a fine line between gripping realism and cinematic exaggeration. Inside Man, directed by Danny A. Abeckaser, leans into this challenge with a gritty portrayal of undercover work in 1980s New York. Emile Hirsch leads the film as a troubled detective whose attempt at redemption drags him deep into the underbelly of the mob, where survival means losing himself in the very world he’s trying to dismantle.

Hirsch, known for his intense performances in Into the Wild and Lone Survivor, delivers a solid turn as a cop struggling with his identity while infiltrating the DeMeo crew—one of the most feared factions of the era. His internal conflict is the film’s strongest element, though at times, the script doesn’t allow for deeper psychological exploration. Lucy Hale adds some emotional weight to the story, though her role feels underdeveloped, while Robert Davi and Jack Cannavale bring a welcome menace to their mobster personas.

Abeckaser, who has experience with crime dramas (Mob Town), crafts an authentic 1980s New York atmosphere, full of dimly lit bars, smoky back rooms, and bursts of brutal violence. However, while the film captures the aesthetic well, it sometimes struggles with pacing, feeling more like a series of key moments rather than a fully cohesive narrative. The tension builds effectively, but some scenes drag, making the film feel longer than its runtime.

The Prognosis:

For crime thriller enthusiasts, Inside Man offers a serviceable look at the high-risk world of undercover police work. It doesn’t break new ground, but the strong performances and stylish execution make it worth a watch, especially for fans of mob dramas.

Inside Man will be available on DVD & Digital, including Apple TV, Prime Video, and Google Play from March 5, 2025, in Australia & New Zealand.

  • Saul Muerte