Steven Kostanski has had a singular filmmaking career. His feature debut, Manborg, made a splash for a gonzo indie Candanian production. His follow-up Father’s Day mainly received favorable reviews, while The Void was met with a tepid reception. Leprechaun’s Return was hailed as formulaic but ludicrously gory, in a good. Psycho Goreman divided audiences, with some appreciating its edge while others found it to lack true heart. Kostanski’s back as the writer and director of Frankie Freako, a throwback to the tiny terrors films of the 1980s (think Puppet Master and Munchies). How does the sci-fi comedy stack up against the filmmaker’s oeuvre?
Conor (Conor Sweeney) is so reserved that bedroom antics with his wife, Kristina (Kristy Wordsworth), involve him holding her hand… just one hand. His idea of breaching workplace decorum is to use red ink for his presentation. To Conor, spicy is above a mild roast of coffee. But all that changes when, one sleepless night, he calls a number for someone named Frankie Freako (Matthew Kennedy). Before long, little freakos are running around Conor’s house, destroying Kristina’s artwork, and spray painting the living room.
The emergence of Frankie, Dottie Dunko (Meredith Sweeney), and Boink Bardo (Adam Brooks) makes Conor late for a Saturday appointment with his boss, Mr. Buechler (Brooks). Said appointment involves shredding documents to cover Mr. Buechler’s creative (illegal) accounting practices. But Conor’s newfound problem, as well as why the freakos are on Earth, impede any progress. Will Conor overcome his buttoned-up ways, or will Frankie and company drive him to the brink before that happens?
“…little freakos are running around Conor’s house, destroying Kristina’s artwork…”
The plot of Frankie Freako is virtually non-existent, barely an excuse to string zany scenes together through nothing much more than chaos. Fart jokes are the order of the day as well. If either of those two things seems like they’ll be a problem, then don’t watch the film. But fans will be happy to know that this fits right in Kostanski’s wheelhouse. It’s intentionally cheesy, delightfully demented, entirely over-the-top, and makes no apologies for its juvenile jokes and abundant gore. In fact, it might be his best outing since Manborg.
Everything here works like gangbusters. Sweeney is perfect as they square up against unimaginable odds. He’s dry and funny, and his straight-man routine plays nicely off the puppets. Kennedy’s voice acting gives Frankie a surprising amount of depth. Sweeny is terrific as the rough ‘n tumble gal who is just looking for a good time. Brooks is tons of fun in his dual role, while Wordsworth is appropriately beguiling and frustrated.
The puppetry work throughout Frankie Freako is quite excellent. While the top-heavy latex molds mean the bodies don’t move much, the supermacromation style of puppets (i.e., Gerry Anderson’s Terrahawks) allows for a wide range of facial expressions and head movements. The freakos’ eyes move with such precision that they feel alive. Thanks to the writing and puppeteers, Frankie, Dottie, and Boink feel like fully fleshed-out characters.
Frankie Freako is a return to form for Kostanski after a few outings that didn’t entirely fit his sensibilities. The characters are interesting, and the plot is altogether out there in the best way possible. The energetic directing keeps the madcap shenanigans chugging along while the puppetry brings the title characters and his cohorts to life. Fans of absurd comedy, puppets, 1980s-style sci-fi adventures, and original films will do well to see this as soon as possible.
"…a return to form for Kostanski..."
