It’s definitely not the easiest title to write or even say, but it’s fitting of this wonky genre cocktail from director (yes, director) John Slattery. “Maggie Moore(s)” sees Slattery reteaming with his old “Mad Men” foil Jon Hamm for a film that is certain to throw some viewers for a loop. In relatively small portions it manages to be a dark comedy, a murder mystery, a police procedural, a true crime thriller, and a sweet adult romance all in one.

There’s a fun throwback quality to “Maggie Moore(s)” and it’s hard to miss the Coen brothers inspiration. Yet the movie stands on its own thanks to its snappy dialogue penned by Paul Bernbaum and a crackling cast led by the always reliable Hamm, the infinitely likable Tina Fey, and the film’s scene-stealing MVP Nick Mohammed. It’s uneven in places and perhaps not as suspenseful as it could have been. But Slattery knows how to hold his audience’s attention and he shows good instincts in keeping things moving forward.

Borrowing ever so slightly from a true account (the movie actually opens with the tag “Some of this actually happened”), the story sets us down in rural New Mexico. There we meet Police Chief Jordan Sanders (Hamm), a recent widower who’s having a tough time getting back into the swing of things. His small town is rocked when not one, but two women named Maggie Moore are brutally murdered. He and his often inappropriate yet fervently loyal deputy (Mohammed) immediately get on the case.

The movie doesn’t really hide its culprits. The only real mystery is in how things are going to play out. Bernbaum introduces us to a slew of slightly offbeat characters to tell his story. There’s Jay Moore (Micah Stock), an obnoxious cash-strapped schlub whose illegal dealings with a local miscreant named Tommy T (Derek Basco) gets him in hot water with his wife, Maggie #1 (Louisa Krause). She’s ready to turn him in to the cops and he’s desperate to make sure she doesn’t. Of course she ends up dead.

Fey plays their observant and recently divorced neighbor named Rita who overhears an argument between the couple that leads to Jay being thrown out of the house. She shares what she saw to Chief Sanders and the two hit it off. The light yet charming romance that follows isn’t all that fleshed out. But there’s a genuine sweetness to their relationship and Hamm and Fey have such a good rapport and it’s hard not to fall in with them.

And then there’s the other Maggie Moore (Mary Holland), a successful suburban businesswoman who’s married to a slimeball named Andy (Christopher Denham). She too ends up dead which adds an entirely new layer to Sanders’ investigation. Corporate fraud, child pornography, a cold-blooded hitman – they all find their way into this twisted and quirky neo-noir tale.

The movie ends with a violent blood-splattered finish and then tops it with a genuinely heartwarming final scene that really serves the movie well. It’s a final 15 minutes that could have easily clashed. But Slattery brings it all together and makes it gel, leaning on his terrific batch of characters who truly are the film’s biggest strength. They have so much individual personality and together make the movie’s more obvious issues feel like little more than nitpicks. “Maggie Moore(s)” is now showing in select theaters and on VOD.

VERDICT – 3.5 STARS

When you describe yourself as “a modern grindhouse epic” and “the world’s first Swissploitation film” you instantly have my attention. That’s the case with “Mad Heidi”, the patently trashy and gleefully gory ode to the grindhouse exploitation films that found a home in rundown movie theaters during the 1970s. Now audiences will have a chance to experience it for themselves during a special one-night engagement on Wednesday, June 21st courtesy of Fathom Events.

Co-directors (and first-time filmmakers) Johannes Hartmann and Sandro Klopfstein crowdfunded their movie and put it together over the course of several years. “No studios. No corporations involved. Just love for film.” But don’t let that fool you. The movie is actually very well made. It’s nicely shot, has a good production design, and features some impressively gory effects, all while maintaining the throwback style it’s going for.

Hartmann and Klopfstein have clearly done their homework and put great effort into recreating the grindhouse experience. From the bad writing, corny acting, and gratuitous content to more specific details such as the cheap grainy intro, the funky 1970s music, and even an unexpected instance of film burn. It’s all glaringly self-aware and it’s custom made to be seen with an audience who knows exactly what they’re in for.

The utterly absurd story goes something like this. 24-year-old Heidi (Alice Lucy) lives a cozy and simple life high up in the beautiful Swiss Alps. She lives with her loving but overprotective grandfather Alpöhi (David Schofield) and is not-so-secretly dating a local goat-herder fittingly named Goat Peter (Kel Matsena). Altogether it makes for a sweet idyllic setting plucked straight out of a storybook.

But following what may be my favorite opening credits sequence of the year so far, we quickly learn that this dystopian Switzerland is no sweet and innocent fairytale land. The country is ran by a ruthless President (Casper Van Dien) who is always addressed by his terrified underlings as “Our Very Swiss Leader”. He’s a megalomaniacal dictator who believes dairy is his key to world domination and that lactose intolerance is a threat to the Swiss way of life. And yes, it’s every bit as absurd as it sounds.

When Goat Peter is caught illegally selling goat cheese like a crack dealer the President’s second in command, the cartoonishly sadistic Kommandant Knorr (Max Rüdlinger), has him publicly executed. And after learning of his relationship with Heidi, Knorr hunts her down, burns her house to the ground, and leaves her grandfather to die. She’s taken away to a women’s prison ran by the oppressive Warden Rottweiler (Katja Kolm). There she befriends a fellow prisoner named Klara (Almar G. Sato) and absorbs the abuse of two rather beefy cellmates, all while planning her escape.

The utterly wacky final half of the movie follows Heidi satisfying her insatiable hunger for revenge. Hartmann and Klopfstein ramp up the silliness and the violence as the President merciless pushes for dairy dominance and Heidi trains “Kill Bill” style into an ultimate killing machine. It’s hard not to appreciate the willingness to embrace the ridiculous. And some of the comedy bits are nothing short of hysterical.

That said, over time the central conceit gradually begins to wear thin and the movie slowly starts to run out of steam. Still its admirable that the filmmakers would stick so close to their vision. In doing so they pull from a variety of fun B-quality genre influences including spaghetti westerns, blaxploitation, and chop-socky cinema. And while it’s little more than disposable entertainment, I can see it being a good time. As long as you keep your expectations in check.

VERDICT – 3 STARS