FREAK OUT

An unapologetic, rowdy and riotous kick in the balls to the decidedly non-funny genre spoofs of late, Freak Out wears its Geek flag with pride. Delivering what has to be the most bitingly honest, offensive, and laugh-out-loud lampoon of the genre to ever splat across the silver scream, director Christian James and writer Dan Palmer deserve recognition for this full frontal attack of Bad Taste and attitude. Poking fun at the Fan Boy tendencies and clichés that they likewise embrace, this film was made by fans for fans. Finding virtue in the violence, sexual lewdness, and exploitative escapism that mainstream critics often site as evidence of the genre's immaturity, this super low budget film dares to suggest -- or rather, shout! -- the delirious freedom inherent in embracing the chaos of the offensive modern horror film. Offered by Anchor Bay in a deluxe two disc edition, you can finally see what all the hub-bub is about.

In a plot surprisingly tightly woven (although admittedly ridiculous) and generous in action sequences, Freak Out features best buddies Merv Doody -- the character's name gives you some idea where the crux of the humor is coming from -- and Onkey, both of which are a homage to (and a loving criticism of) the stereotypically perceived horror fan -- a species that mainstream media would have the world believe drools all day, collects Well-fare, and enjoys microwaving small furry animals. Obsessed with the violence, escapism, and sexual exploitation of such Slasher movie fare as Halloween, Friday the 13, and anything with breasts and blood, these two fellows have the good fortune of meeting an escaped mental patient. If the wicked, honest humor of this setup doesn't already resonate, than you're obviously not the kind of fan that this movie was crafted for. Employing practically every cliché horror movie idea, theme, or characterization that they could fit into a storyline that flirts with experimental post-modernism on a five dollar budget, the story erases the fine subjective line between move and viewer, fiction and reality. When Merv determines to train his visiting nutcase to become the ultimate serial killer, irreverent and genuinely funny events ensue. Soon, through accident and mishap, the masked madman develops a hankering for butchering. Like Frankenstein before them (which they themselves give credit to, aware of their similarity), they have indeed created a monster -- one cobbled not from cold cadavers but strips of bloody celluloid, a brazen assemblage of practically every iconic fear film of the 70s and 80s. When their 'creation' finds he has a taste for killing, they must attempt to stop him.

Revealing the ridiculousness of the brain-and-soul dead Hollywood machine while extolling the impressive heights that lob budget filmmaking can aspire to with a good script and enthusiasm, Freak Out is more than a parody. A satire of both the genre and filmmaking as a general process, this celebration of political incorrectness never feels mean-spirited or petty. Neither does it showcase the general disdain or snobbish superiority that many self-satisfied 'satires' reek of. While horror movies are kicked in the ass by the writer's wit, there is nothing petty in the criticisms. Rather, such conventions as the geeky fan and the thematic predictability of the genre -- the Slasher film primarily -- is lambasted with a perverse, infectious affection. The prevailing attitude resembles the atmosphere of a celebrity roast, with the filmmakers paying tribute, showing their fondness for the genre and its fans. Stuffing more nerve, intelligence, and heart (albeit a bleeding one) into 103 minutes than any one of the Scary Movie films, Freak Out is a kick in the ass to the oh-so-tired banality of the generic dark comedy, managing to maintain its own identity. Here, finally, is a horror comedy that knows how to make you laugh and squirm, and doesn't ask forgiveness. Go ahead, be a film geek! it shouts. Perhaps it laughs loudest at itself, only adding to its fiendish charm. Freak Out may very well become the rallying war cry for a new generation of fear film fiends!

Presented in 1.85:1 anamorphic widescreen, Freak Out is surprisingly clean -- although not too clean. Thankfully, the visual quality is professional without suffering from too much polish, which would have taken something of the gorilla attitude and atmosphere from it. Far from trying to disguise the low budget, this print celebrates it, preserving the Grindhouse atmosphere. Audio is featured in Dolby Digital 5.1 and Dolby Surround 2.0. Each track is clean, without distortions of language or sound effects. In fact, the dialogue is easy to understand, while the soundtrack thunders into your living room -- the perfect accompaniment to the insane on-screen action.

Extras for this perverted peon of low budget storytelling are as plentiful as the film's references to horror film favorites. Anchor Bay hasn't skimped, loading two discs with supplemental material, all of which offer an insightful if informal understanding of how the film was created, why, and when. Providing a cultural and genre context against which to better understand and appreciate the final product, two Audio Commentaries are by far the best additions. The first track, featuring director Christian James, actor/writer Dan Palmer, and actor/producer Yazz Fetto is an often irreverent, comedic, enthusiasm filled gab fast, clearly showing that these guys enjoy each other's company. Among other things, we hear about the initial inspiration for the movie, the many hurdles along the way to production, and detailed gossip on individual scenes. More interestingly, the commentary reveals the no-shit honesty of their approach to not only the film but the genre at large. The second track, not as technical, features Palmer and James again, this time alongside James Heathcote, Nicola Connell, and Chilli Gold. Critic James King does a professional job of inspiring topics, although it's difficult to curb the speaker's enthusiasm. This is a more playful, and although some items are revisited, enough new material is mentioned to make it worth a listen.

Disc Two features "Making Out," a behind-the-scenes look at the production, which took around four years to shoot. Engaging and as full of slapstick as the film itself, this featurette is more a casual look at the process than educational, and is all the more fun for it. Less satisfying is the "Geek Out" portion, which is precisely that -- a segment where some internet reviewers are encouraged to talk about the film. The catchy "Zaniac Music Video" is a welcome addition, capturing the appeal of the wacky story, while "Bum-Feeling 101," a bit featuring characters from Freak Out, is further reminder of their ability to make the simplest actions humorous. "Five Minute Film School," a crash course in minimal budgeted movie-making, besides lampooning the Robert Rodriguez "10 Minute Film School" also pokes witty fun at its own methods. Next up is "Honey, I Blew Up The Looney," a less entertaining, more technical piece examining the explosion sequence. "The Video Store" gets us back on track -- a severely twisted one, to be sure! -- featuring mini spoof shorts that resonate with the same delirium of Freak Out (many of which were taken from the film itself). The 17 Deleted scenes (which round out this fine package, along with some trailers), are each proceeded with an introduction by the boys, including visits to the locations, and are each as outrageous as the feature -- a fitting conclusion to perhaps the most honest satire of blood, breasts, and beasts ever filmed.

Review by William P. Simmons