Set in a secluded cabin in the snow-covered mountains of Utah, Hanky Panky takes absurdist filmmaking and bizarre storytelling to a whole new level. Writer and co-director Nick Roth describes the film as “Clue on acid,” and that description holds up. Jacob Demonte-Finn takes the lead role as the worrisome Sam, a man invited to a getaway at the scenic cabin by complete accident. Sam, with only his sentient handkerchief as a friend, must navigate the chaotic relationships and devastating fates that befall his fellow guests.
The getaway guest is an eclectic and eccentric group, though few can compete with Sam’s talking napkin, Woody, whose foul mouth gets Sam into more than a little trouble. Carla (Christina Laskay) and her husband, Cliff (Anthony Rutowicz), are having marital troubles. Diane (Ashley Holliday) is scatterbrained. Kelly is a lovable neighbor but a bit secretive. And Lilith has a second face growing out of her head (like Voldemort in Sorcerer’s Stone). Overall, the experience seems far from the typical weekend retreat. Just as evening is taking a turn for the normal, bodies start piling up, and things get unhinged. From death cults to secret agents and intergalactic conspiracies, Hanky Panky does not let up until the closing credits.

“…bodies start piling up, and things get unhinged.”
For such a foundationally strange film, Hanky Panky‘s cast and their commitment to the bit is vital to its success. Across the entire ensemble, every performer gives one hundred percent to the role. Whether they are being attacked by a murderous top hat or tripping on mushrooms in a ski shack, the film’s cast sells every campy moment with earnest intent. Demonte-Finn is charming, awkward, and witty as Sam and performs against talking napkins, magical crystal balls, and more than a few off-beat interactions with irreverent conviction. It’s a fine-line kind of performance, and Demonte-Finn walks it with mastery.
Lindsey Haun and Nick Roth helm Hanky Panky as co-directors and more than contribute to the trippy, WTF nature of the story, characters, and overall theme of the movie. The two directors are never afraid to take the film outside the mainstream, even the indie version of the mainstream, which is impressive in its own right. However, the narrative at times feels weird for weird sake. A few jokes miss the mark, and a few characters feel less fleshed out in favor of strangeness. Still, Hanky Panky hits the mark far more than it misses. Haun and Roth’s love of filmmaking is evident in every dark joke, schlock special effect, and whimsical story choice.
At its core, Hanky Panky is a stoner-horror comedy. But even then, it has elements of Sci-Fi, Wes Anderson quirkiness, pulp mysteries, and a few dozen movies within stoner, horror, and comedy genres. Or maybe it’s just what Nick Roth said: “Clue on acid.” The plot is nonsense, and some characters are more plot devices than active agents in the nonsense narrative, but the movie is never dull, which is what makes Hanky Panky so special. Despite its B-movie ethos, Haun and Roth make several solid directorial choices, showcasing they could make a technically “good” film whenever they want. The sheer mayhem of watching a wire-work battle between a napkin and a top hat will have some audiences rolling in laughter and others rolling their eyes. Either way, Roth and Haun will keep audiences engaged and entertained with their wild story of mayhem, mystery, and wacky murders. Hanky Panky is for a very particular clientele, but for that clientele, this movie will be a new favorite.