Hanky Panky: A Haywire, Humorous Whodunit

“She was real great at being an unemployed actress.”

A moment of reflection, uttered by a husband in the middle of a mushroom-induced therapy session run by his wife’s best friend after losing track of a talking hat. 

Make sense?

Good.  Then you’re ready for Hanky Panky, the new indie horror-comedy written by Nick Roth and co-directed along with Lindsey Haun. It’s silly, it’s wild, and it’s filthy in all the right ways, made by a team with a clear love of film.

Accessories to Wardrobes…and Murder

After being treated to Shining-esque opening credits, we arrive at a cabin in the Utah mountains complete with Overlook vibes. First to arrive is Sam (Jacob DeMonte-Finn), a socially awkward expert in 16th-century textiles and a sentient, horny napkin named Woody (Toby Bryan) for a pocket square. Next is Diane (Ashley Holliday Tavares), a walking definition of quirky, complete with a vial of oregano oil for when the occasion arises. She’s then followed by a who’s who of murder-mystery suspects: A bickering husband (Anthony Rutowicz) and wife (Christina Laskay), each dulling themselves with their respective Busch and red wine, his delightfully insufferable brother (Roth), and his wife (Azure Parsons, in a performance that would make Norma Desmond proud). In addition, they’re treated to the company of two local siblings (Haun and Bryan) that are so close, they barely act like it and a country girl (Clare Grant) who’s not at all what she seems.

Everyone starts to settle in — as much as they can, anyway — and immediately try to figure out what Sam’s deal is, as he stumbles through awkward conversations and juggles Woody’s unceasing vulgar demands to wipe up spills (for sexual pleasure, you see). Easily the dirtiest I’ve felt seeing something be cleaned. Just as Sam has enough of Woody, he tries to warn Sam about the siblings, who seem to be hatching a sinister plan. Sam doesn’t listen, until the bodies start dropping. As the story unfolds, each twist is crazier than the last, culminating in a killer that surprises everyone. Well, almost everyone.

A Raucous Raunchy Comedy

Hanky Panky shines in large part due to its cast, fully committed to the bit and having a blast along the way, in addition to Roth’s witty, absurd script. From Laskay’s searing bitterness to Tavares’ quirky quips and everyone in between, no character is wasted nor overplayed, including a very fun use of Seth Green. Making use of minimal locations, the directors also lean into the independent nature of the film with effects that scream midnight double-feature in the best possible way.

In addition to its Shining reference, echoed as a motif in Jimmy Haun’s eclectic score, homage is paid to such classics as Deliverance and Sunset Boulevard, with the title font even showing love to a personal favorite sitcom, Cheers. 

Hanky Panky: Conclusion

With cheesy sight gags, spot-on one-liners, and just enough blood to keep you sated (though there could always be more), the film leans more comedy than horror, but that’s not necessarily to its detriment. Inspired by the likes of Wet Hot American Summer and Caddyshack and created as “anarcho-communist-guerilla production,” according to the film’s website and collectively owned by all involved, Hanky Panky truly embodies the spirit of film for film’s sake. Both Haun and Roth’s work and performances are delightful, Haun especially stealing scenes left and right, and I look forward to their next projects either together or separate. B-movie fans will be thrilled by this, and no one should deprive themselves of an opportunity to see a napkin learn about the power of friendship.

Hanky Panky premieres Saturday, December 9th, at the LA Comedy Film Festival. Tickets can be purchased here.

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