Review: Undercover Vice: Strapped for Danger Part 2

Text © Richard Gary / Indie Horror Films, 2020

Images from the Internet

Undercover Vice: Strapped for Danger Part 2

Directed by Richard Griffin

Scorpio Releasing / The Reasonable Moving Picture Company

88 minutes, 2020

www.scorpiofilmrising.com/

In the words of the director, “Enjoy in good health and bad taste!”

Just judging by the original Strapped for Danger, which came out in 2017, this may be “bad taste,” but it is great fun. The humor flies fast and furious, and usually hits below the belt.

In a switch in direction, whereas the original focused on the exploits of some Ocean’s Eleven-type twosome robbers/male strippers with the coppers on their trail, this one looks from the other perspective, namely that of the men in blue (and pink without their uniforms). With the same writer – er – in hand, Duncan Pflaster, Griffin continues his stream-of-gayousness kooky cool comedies.

Chris Fisher, Sean Brown

The focal characters are two straight and bumbling police detectives: Republican Kevin (Chris Fisher) and soon-to-be-engaged and very buff Andy (Sean Brown). After screwing up a screwball screw toy caper, they are assigned to go “deep undercover” as gay porn stars. Apparently, there is a threesome of these actors who like to blackmail Republican politicians (ripped from the headlines!!) for cash; our heroes are told to infiltrate the gay film scene, join the gang, and get the goods on them.

The three not-so-bad guys are Jazon (Alec Farquharson), Clem (Ricky Irizarry, who was so good in Griffin’s earlier film this year, Before the Night is Over, reviewed HERE), and ringleader, Thoby (Anthony Rainville).

Ricky Irizarry, Anthony Rainville, Alec Farquharson

It’s barely 8 minutes in before we are introduced to nude male tushies, and another minute before other naughty bits come into play, as it were. So, what are two straight cops supposed to do in a situation where not only are they expected to go over the bridge to Pimpleton, but to do it on camera? And for those to whom it matters, yes, there is also some female nudity supplied by the lovely and multiply pierced Zooey (Sarah Reed), Thoby’s girlfriend (it is explained in the film).

Who are the good guys and who are the bad is the central zeitgeist of the picture. Are the porn stars wrong for their actions? Is the political force behind the police correct in their methods (a valid question all things considered with what is going on beyond my doors these days)? While the humor is foot loose but not dildo free, it also makes a poignant point on the politics and hypocrisy behind the conservative wave that is hopefully starting to ebb a bit.

The sets are simple and look great thanks to Production Designer Margaret Wolf, from the police station to the St. Agnes Home for the Nearly Deceased. In addition, John Mosetich’s photography is also simple, and yet has quite a distinctive look to it, e.g., he loves medium shots; rather than the usual primary color lighting scheme (yellow filter! red filter! blue filter!), here it is more straightforward and realistic, giving the film a stark, bare-bottom (see what I did there?) feel to the action.

Ninny Nothin

The acting is quite decent, but the porno director, Piñata Debri (drag queen Ninny Nothin aka Johnny Sederquist) – named I'm sure as a tribute to The Producers (1968) – steals every scene she's in. She's also eminently quotable, with lines like "I promised myself I wouldn't fake cry, but it's happening." Everything she says feels like it should be followed by multiple exclamation points. 

I realize this review is a bit all over the place, but there is so much to digest (pun not intended), and it just about never stops through the entire picture. I mean there’s even a The Music Man (1962) reference, during a restaurant scene there is a Justin Trudeau full size cutout that was also used in the coda of Code Name: Dynastud (2018), a hysterically misleading false perspective scene in police station, and a Bollywood nod that had me in stiches. Even the dialogue, if you pay attention, will set your mind on fire, with lines like “Did you just call me a pussy for not wanting to get fucked by two dudes?!” One of my faves is a suggestion during a porn shoot to “…just think of Christine Baranski” (who I once saw on Broadway, and was fabulous, by the way).

Sarah Reed

It should come as no surprise that along with the comedy and the political underlining, it is both a story of sexual awakening (the real agenda for the film) and somewhat of a love story, some of which you may not see coming (watch the credits at the end).

Back in the 1970s, when films from Sweden flooded the market with sex romps, this would have been known as softcore. Nothing is erect – though I’m glad this wasn’t in 3D – but there is a lot of sex of various styles, be it gay, straight, and multiple partners of both sexes.

There are several (yet not preachy) less-than-subtle digs at the Republican anti-LGBTQ+(etc.) mindsets (I use that term loosely), especially involving a Republican Senator Hanson (Jay Walker), who hilariously breaks the fourth wall at one point to say what we’re all thinking. One subtle (or possibly not so much) line is by the real villains (yes, Republicans) who exclaim, “It’s our job, as police, to protect and support the government,” not the people… sound familiar?

Story-wise, in some ways its sensical to figure out where some of it is going, and there are plot points that ain’t gonna happen in real life, but who cares? The narrative flows, the comedy works, everyone’s (male and female) bodies are spectacular, and it’s just a plain old good time to be had by the viewer, unless you’re the self-deluded conservative macho type who needs three guns to go grocery shopping (yes, that’s real).

Just sit back and enjoy it.

Review: Accidental Incest

Text © Richard Gary / Indie Horror Films, 2015

Images from the Internet

Accidental Incest

Directed by Richard Griffin

Scorpio Film Releasing

102 minutes, 2014 / 2015
www.mvdvisual.com 

Richard Griffin is a trans director. No, no, what I mean is that he readily and easily moves among various genres and sub-genres. And although he has remained somewhat auteur, he rarely keeps his feet on solid cinematic ground. For that, we, the viewers, are lucky. That I'm reviewing two of his films in two separate blogs in a row rather than combining them says something.

For the most recent, Accidental Incest, Griffin and writer / collaborator Lenny Schwartz (an award winning playwright!) delve into the broad bedroom sex farce. It’s quite extreme, but probably no more risqué than, say the absurdist budoir comedies of Tudor-period France, or Chaucer’s the “The Wife of Bath” in its Medieval days. That is to say, this is fuckin’ risqué, Jack!

When we first meet our two self-proclaimed douchebag anti-hero protagonists, they are performing acts of narcissistic revelry, for which they must pay in some form or another. They are unhappy with their life situations, but not necessarily with their lifestyle choices, which would fit in well in any sex(y)-addict group. After each survives a near-death experience and meet some cool and attractive guardian angels, and then their marriages finally dissolve with a bang not a whimper, they find each other in a seedy hotel hallway. It is lust and love at first sight. But there is a problem they eventually learn, which the title makes obvious.

On the relatively masculine side of the equation, there is Milton (a nice, Jewish boy we learn), played with wide aplomb by Johnny Sederquist. He makes the Sean character from the television show Psych look like a mellow dude. Whatever the gender, whatever the drug, whatever the experience, he is there, and ready-willing-and-able. You can just tell Sederquist is having a blast in this role, and embraces his character wholeheartedly. He sort of reminded me of a living emoticon, with all emotions in the extreme, eyes always fiery happy, excitedly surprised, or even when sad.

The Yin to his Yang is Kendra, with Elyssa Baldassarri embodying her wild and crazy ways with abandon. Comfortable in her birthday suit (as was much of the cast), her zaftig form looks lovely on the screen (again, as was much of the cast). Baldassarri, who is playing her first leading feature-length role, is an attention grabber (in a good way), wearing Kendra’s thoughts and emotions on her face, looking seamless and organic, which tends to be troublesome for some when playing comedy this broadly.

One of the aspects of this film that I found refreshing in so many ways is there are a number of twists and turns that I just did not see coming, bringing huge smiles to my face. In other words there are a number of WTF moments, but it still works in this case because, like having all those clothes on Gilligan’s Island, you learn to accept the unexpected as it comes, even as it surprises you outta your skivvies.

As always, and to no surprise, however, is Griffin’s way with the look of the film. While giving a nod to photographer Jill Poisson (also for her work on many other Griffin’s releases), the pace of the film never lets up, and that is due in part to Griffin’s editing. It really is a joy ride (in this case be it roller coaster or Tilt-a-Whirl) that never lets up.

While the two leads are both interesting and fetching, there is a very large cast that is very generous with their talents and bodies throughout. For example, Jose Guns Alves, who tends to play tough characters from ghetto-style exorcising priests to soldiers, acts against form as “The Anxious Man” (as the credits list him), showing a humorous and non-threatening side, despite the murderous actions of his character. Also against type is the usually loveable Jamie Dufault, who is perhaps a bit too comfortable looking being a sociopathic …well, I won’t give it away. And the lovely Tonya Free was spot on as a conflicted love interest for one of the menagerie of crazies we get to meet.

Filmed guerilla-style through Rhode Island, home of Scorpio Releasing, there is still lots of set pieces where there are little, imaginative touches, such as the use of framed album sleeve covers on the walls. I noted Frank Zappa, Roxy Music (Country Life), Tom Robinson Band (Power in the Darkness); Josie Cotton (rare 12” single of “Johnny Are You Queer”; I have this one), and Soft Cell. Also the choice of using both black and white and color is a strong choice for a purposefully powerful albeit comedic film.

In James Clavell’s Shogun (the novel from 1975, not the Richard Chamberlain tele-film), the reader is introduced to Japanese society, showing local lords to be powerful with control of life and death of the peasants, and yet by the time we get deep into the story, we realize that the lower lords are nothing compared to those above them. Why bring this up? Well, when we meet Milton and Kendra in their solo openings, we are presented (among others) M/F anal sex, adultery and affairs with druggies in Mexican prisons, and it’s shocking. But as the story progresses, much like Clavell’s book, we find these two to possibly be arguably the sanest people in the story. Power-crazy Christians, people locked up and treated like dogs, an obsession with a strange choice in a film star, and soooo much more are just part of an ever increasing insanity level.

The original name of this film was Accidental Incest: The Musical (a wonderful extension). While not a full-fledged musical in this version (perhaps a future Anniversary re-release?), in three different occasions, a character bursts into song, including a hysterical rap by God (Aaron Andrade, in a cool, polar opposite role from his turn as a hyper-soldier in 2014’s Future Justice). And Jesse Dufault, who was spectacular as NuWave in 2014’s Sins of Dracula, has already proven he has a decent voice.

Two quick notes: be sure to catch director Griffin doing a silent Hitchcockian cameo as a bar patron about an hour in, and there is a throwaway joke at Adam Sandler’s expense that almost made me want to say, “Oh, snap!” (but I didn’t; I’m not cool like that). Oh, and did I mention that there is a lot of nudity from various genders including full frontals and full – er – backals?

If you were to chart Griffin’s films on an X-Y axis, with his slasher-comedy Murder University (2012) being the median, this film would be as far to the side of outrageous comedy as the dead serious and excellent Normal (2013) would be on the opposite spectrum. I’m not sure that makes sense, but it works for me.

While mostly true for the male characters, there is nothing stopping the swapping of genders as a point of desire. Even with the occasional Seth Rogan-esk slur, such as “fudgepacker,” it’s generally acknowledged that people are sexual beings. However, I believe there does need to be some equal line-crossing on the female side; I’m not one of those who get off on watching lesbianism, but it’s only fair to make it even, doncha think?

And with that last paragraph in mind, I have a fantasy that this film would play in every single screen in Indiana, Arkansas, Florida, Louisiana and Texas (at least), with mandatory viewing from the locals. Then I’d like to see Bobby Jindal, Mike Pence and Ted Cruz have to act out some of its scenes (I’m thinking the one’s with Kevin Killavey as Tool). That would be as much exquisite fun as this film.

* * *

Postscript in May 2016, as I had reviewed the VoD version and acquired the DVD later:

I finally had the opportunity to check out the commentary track, which is filled with about a half dozen people, such as the two leads, the director, the writer, and the producer. Other an an occasional overmoduation (i.e., a buzz) when they all laugh at the same time, it was quite an interesting conversation full of information, as well as stories. Everyone was respectful and not over-talking each other, thankfully. Enjoyable from beginning to end. 

As a personal note, it was great that the director referenced this very review (through quote, but not by name, which is totally fine with me) about Johnny at the almost 6-minute mark. Thanks, Richard!

Review: Normal

Text by Richard Gary / Indie Horror Films
Images from the Internet

Normal
Directed by Richard Griffin
Scorpio Films Releasing
89 Minutes, 2013
www.scorpiofilmsreleasing.com
https://www.facebook.com/NORMALTHEMOVIE

And it is no wonder, for Satan himself masquerades as an angel of light.

2 Corinthians 11:14

Many directors it seems, especially ones known for releases generally having some level of humor, at some point want to make a “serious” movie. Most, such as Woody Allen with Interiors (1978), are arguably not successful (it was a beautiful film that critics loved, but it bored audiences). Director Richard Griffin had tried this before with much more success with his bleak, black and white noir thriller Exhumed (2011), which I rated as the best indie film I had seen that year.



Sarah Nicklin and Michael Reed

Taking a step into even darker material – albeit this time in color – Griffin once again joins forces with his Exhumed leads Sarah Nicklin and Michael Reed, only this time with Reed as the focal point rather than Nicklin. But as with most films that pair them, they are some form of a couple, such as in The Disco Exorcist (2011).
Let me say, as a straight Ally, Reed is one handsome fella. Luckily, he does not really need to rely merely on that as he is also one damn fine actor. He plays Jim, who owns a run-down apartment building in Boston (he even drives past the Citgo sign, giving me fond memories of The Rat[skeller] club, but I digress…), apparently co-owned with his brother, Tom (Nathaniel Sylva giving a solid and emotional performance). Jim is also the not so handy superintendent, unsuccessfully able to fix fluttering hallway lights or thermostats, thematically matching his mind and moods, perhaps. Now, his brother is pressuring him to sign away the building to be sold for his own – yet understandable – reasons we come to learn. So, poor Tom is feeling quite some pressure in his life.



Elyssa Baldassarri and Michael Reed

Along with his brother, there is also strain from a number of the tenants who desperately seem to want something of – not just from – him through some form of affection and attention, including both genders (yes I know gender is more than binary, but let’s move on). Through flashbacks and verbal hints, the viewer learns some of the key secrets of the story at the end of the first act, but that certainly should not have you give up, but rather put a little additional jam on the toast, if you will, because the ride is just getting more interesting.

The tenants and a couple of visitors are part of what makes this film so… disturbingly curious. For example, there’s Reed’s companion who often comes and goes named Shelley, played by the amazing… Sarah Nicklin. That pause is because I was going to call her a Scream Queen, but honestly, you can tell she can play beyond the genre. Let me further say, as a straight Ally, Nicklin is an attractive woman. I’ve seen a few of her films, and when she and Reed have scenes together, there is definite magic as they play off each other so well.

The mysterious Michael Thurber

There is also a married couple (Monica Saviolakis and Rich Tretheway, who just keeps getting better in every film I see him in), two women who almost remind me of the twins from The Shining (1980), amusingly named April and June (Samantha Acampora  and Shannon Hartman, respectively), the older man who has a crush on Jim (David Erin Wilson), and a woman constantly on the verge of a nervous breakdown (Elyssa Baldassarri, also giving an extremely strong performance somewhere between pathos and scarred; I’m looking forward to seeing her first lead role in Griffin’s latest, Accidental Incest: The Musical, which was just released, and soon to be reviewed here). Then, of course, there is the mysterious stranger, sharply portrayed by Griffin regular, Michael Thurber. Thurber can sometimes be over the top when he should be, in comedies like Future Justice(2014), Dr. Frankenstein’s Wax Museum of the Hungry Dead (2013) or The Sins of Dracula (2014), but when he hunkers down to serious roles like here and Exhumed, man, is he a force to reckon with.

Samantha Acampora

Griffin’s sense of the scene, placement of the camera, lighting, and mood are impeccable. There’s one shot of Tom leaving a bar with the soon to be full frontal Patrick Keefe, which is so well done, I actually backed it up to watch three or four times, with each viewing I noticing something different. From the dull, yellowish lighting to one that is bright and glaringly stark white to show, again, state of mind, the direction is nearly a character in itself.

While the symbolism runs higher than usual, unlike with, say, Interiors, it never gets in the way of the story, a fault that tends to run in those trying to make “art” instead of a good film. There is a reason why so many quality actors flock to and then stick around for other Griffin films, because (a) it really looks like they are supported by the director, (b) the roles are juicy as get-out, and (c) he makes quality films. There is no other director I know who is this prolific (18 full features and a few shorts in 11 years) and retains the high level of quality.

Helping along of course is the writer, Lenny Schwartz, who has penned a couple of Griffin’s other films, including the above mentioned Accidental Incest. Schwartz has a very sharp sense of humor, a touch of the deranged, and knows how to tell a story. I mean, if he can give away key plot points a third of the way through and still not have it be anti-climactic, that really is saying tons.

One would be hard pressed to call this a splatterfest, and blood is kept to a minimum, but its presence is more meaningful than your average killer film, but that’s because Normal delves us ore into what makes one do terrible things, and yet manages to keep us in suspense, as a thriller should.

As usual, Schwartz and Griffin play with cultural gender roles, with no character necessarily being 100% anything other than themselves,  and giving the audience enough credit to accept that. As it should be. Just playing with the theme of what is normal and what is “not” can be taken on many levels here. Sure, there is the mental question, but where does that line fall, and more importantly, who is to say what is “normal?” Greenwich Village? Indiana? Fangoria? Me?  

There are a bunch of points I would love to discuss about the ending here, but won’t for obvious reasons. Let’s have some tea, and we can talk.