Body Blow
Dean Francis
2025, 110 mins.
If only scripts were less predictable
Here’s a lavender-infused good cop/bad cop thriller that takes a look into the seedy world of drag queens, drug peddling and unexpected love, where the “I betcha this happens next” far outweighs “Oh, that was a surprise”.
At the centre of it all is queer cop, “power of the penis” devotee Aiden (Tim Pollock, always ready to touch himself or boldly slip on a metallic chamber for his ever-demanding member) is brought into an undercover situation that puts him in the company of hot men who don’t care about the badge, so long as the revolver is loaded. Best in class of those is the blonde-bombshell Cody (scantily clad Tom Rodgers is happy to bend over for law enforcement so long as his stash can be retrieved and his extensive eye makeup isn’t mushed).
The masters of ceremonies are cop boss Steele (done up with gay conviction by Sacha Horle) with a mighty assist from her retired head-cop dad (with too many stories left to write, tell or conceal—some career policeman never really retire).
At the centre of everyone’s attention is drag queen and drug purveyor extraordinaire, Fat Frankie (well-known to his most intimate friends, especially Cody—Paul Capsis wears his/her wigs with style while ruling the drug roost with an iron, manicured fist).
But never mind about the plot points (also written by Francis), e.g., imagine wiping up evidentiary footprints while the cops begin their investigation…it’s the ensemble’s acting that saves this production from an early grave.
See it for yourself but don’t be surprised if you can see the ending before this film drives off to the ER. JWR
Coyotes
Colin Minihan
2025, 91 mins.
Two distinct ways to look at it
Why do we go to the movies?
Probably as many answers as there are viewers.
Plot, stars, accompanying date, price, location of cinema…
All are valid answers and fulfilled daily.
However, some of us wait for the lights to go down in order to discover if the writing is what the film is about, or (happily, for many of us), it’s the subtext/counter story that excites our imaginations.
In this instance director Minihan and his crew of writers (Tad Daggerhart, Daniel Meersand and Nick Simon), boldly offer two points of view:
On the one hand, it’s a family (and their neighbours) in the Hollywood Hills trying to deal with a covey of coyotes looking for food, driven from their usual habitats by a seemingly unstoppable fire.
On the other hand, it’s a cautionary tale about the ravages of climate change where the coyotes are wilfully blind politicians who knowingly let their constituents suffer thanks to first-class scientists’ warnings and advice being purposely ignored by those in power more interested in grift than catastrophe.
If blood and guts (there’s lots) is your desire, do enjoy the carnage, but if another warning about impending doom keeps you up at night, then take a peek and decide for yourselves. JWR