Review: ‘The A-Frame,’ starring Johnny Whitworth, Dana Namerode, Laketa Caston and Nik Dodani

June 11, 2024

by Carla Hay

Johnny Whitworth and Dana Namerode in “The A-Frame” (Photo courtesy of Traverse Media)

“The A-Frame”

Directed by Calvin Lee Reeder

Culture Representation: Taking place in an unnamed U.S. city, the horror film “The A-Frame” features a racially diverse cast of characters (white, African American and Asian) representing the working-class and middle-class.

Culture Clash: A mysterious astrophysicist claims that he has the cure for cancer because of his A-Frame invention, which sends cancer cells into another dimension, but the machine has hidden dangers.  

Culture Audience: “The A-Frame” will appeal primarily to people who are interested in sci-fi horror movies and don’t mind plot holes.

Johnny Whitworth in “The A-Frame” (Photo courtesy of Traverse Media)

“The A-Frame” is a sci-fi horror film about a “mad scientist” who claims he has an invention that can cure cancer. This sluggish movie has flimsy world-building and too many unanswered questions. A few blood-soaked, gory scenes don’t make the movie scary. The ending of “The A-Frame” is entirely predictable and leaves a lot of loose storylines hanging.

Written and directed by Calvin Lee Reeder, “The A-Frame” (which had its world premiere at the 2024 Tribeca Festival) is a fairly drab movie that might have been better as a short film. There’s a lot of repetitive padding in the movie, which has characters who are quite boring and hollow. The movie really goes off the rails into eye-rolling stupidity when there’s a police “investigation” that doesn’t look believable at all.

In “The A-Frame” (which takes place in an unnamed U.S. city but was actually filmed in Kentucky), Donna Walker (played by Dana Namerode) is a mopey young musician who has recently found out the devastating news that she has bone cancer (osteosarcoma) in one of her hands. This hand will have to be amputated. Donna plays piano in an unnamed instrumental trio where the other two members are guitarists named Walter (played by Phillip Andre Botello) and Sonia (played by Larissa White). This musical trio is mostly shown practicing and barely speaking to each other.

Very little is revealed about Donna except her medical condition. Donna attends a support group meeting for people living with cancer. The first time that Donna attends this meeting, the group leader Linda Dixon (played by Laketa Caston) is hostile to Donna because Donna is eight minutes late. Linda is very moody. She can be rude and condescending to someone and then friendly and compassionate to the same person, within a matter of minutes. That’s Linda’s attitude toward Donna, whom Linda eventually welcomes into the group.

During a visit to her doctor, Donna makes the acquaintance of another cancer patient named Rishi (played by Nik Dodani), who is talkative and an aspiring stand-up comedian. In the waiting room, Rishi tries out some jokes on whoever is there. Most of these jokes are silly and terrible. Donna tolerates Rishi because he seems nerdy and harmless.

One day, while in the waiting room, Donna meets a stranger named Samuel Dunn (played by Johnny Whitworth), who introduces himself as Sam. He’s in a wheelchair and tells Donna that he’s a scientist who can help her with her cancer because he’s developed an “experimental” treatment. Sam tells Donna that he wants to give her an option for treating her cancer.

Donna is very skeptical when she first meets Sam, but Sam insists on giving her his business card in case she changes her mind and wants to contact him. Before he leaves, Sam gets up out of the wheelchair and walks away. It’s the first red flag at Sam is a liar who can’t be trusted. However, the movie shows time and again how Donna falls for his lies.

How did Sam know that Donna has cancer? When Donna inevitably calls Sam, she asks him that question, and he tells her something that is actually the truth: He has the ability to hack into computer systems and virtually stalk people to get a lot of their personal information, such as medical records. Sam tells Donna that her medical records were easy to access. And later in the movie, it’s revealed that Sam has Donna under constant surveillance through various methods, such as phone tracking.

Donna can’t accept that her hand will be amputated, so she visits Sam in his very creepy and dark lab. He explains to her that he’s found the cure for cancer by testing “rats” (which are really white mice) that he has in the lab. Sam shows her a machine he invented called the A-Frame (because the opening portal is in the shape of the letter A), which he says can transport molecules and other body particles into other dimensions.

Sam shows her a video of a mouse with cancerous open sores that he put in the A-Frame. When the mouse came back through the portal, tests showed that it was free of cancer and perfectly healthy. Sam says he’s sure that this can happen to humans too, but he needs a human volunteer who’s willing to keep this illegal and unethical experiment a secret.

After expressing a lot of doubt, Donna agrees to be the first human to be part of this experiment. Sam does not charge money, nor does he pay Donna to be part of this research. Along the way, Donna and Sam get sexually involved with each other, although there’s no sex shown in the movie. “The A-Frame” just abruptly shows Donna waking up in Sam’s bed while they are both in their underwear.

“The A-Frame” has adequate production design, but the movie just isn’t convincing when trying to explain many aspects of the story. Sam the astrophysicist can’t even explain where beings or things are transported when they go in the A-Frame and come back physically transformed. Wherever they go is just vaguely speculated as unknown dimensions. It’s really just sloppy and ill-conceived screenwriting.

Once the movie brings a police investigation into the story, it becomes even more far-fetched that Sam is able to keep certain secrets and not be put under police surveillance, when it becomes too obvious that he’s up to no good. The movie also has no explanation for where Sam is getting the money to fund his dubious research, which he does in secret and by himself. And if Sam’s so-called cancer cure is real, but he wants to keep his methods confidential, wouldn’t it be hard for patients with any “miracle recoveries” to keep everything a secret?

There’s too much of the movie’s story that falls apart under scrutiny. The last 15 minutes of “The A-Frame” just devolve into people acting out of character and more cover-ups of illegal activity. The acting performances are mediocre. “The A-Frame” has some creepy images, but nothing about this movie is truly terrifying, and the pacing often drags. Sam is presented as a scientist who wants to change the world. But in order for a movie like “The A-Frame” to be effective, that world has to believable in the first place.

UPDATE: Dark Star Pictures will release “The A-Frame” in select U.S. cinemas on July 25, 2025. The movie will be released on digital and VOD on August 5, 2025.

Review: ‘They Night They Came Home,’ starring Brian Austin Green, Tim Abell and Danny Trejo

February 2, 2024

by Carla Hay

Peter Sherayko, Sam Bearpaw and Tim Abell in “The Night They Came Home” (Photo courtesy of Lionsgate)

“The Night They Came Home”

Directed by Paul G. Volk

Culture Representation: Taking place in 1895 and 1896, in Arkansas and in Oklahoma, the Western action film “The Night They Came Home” (based very loosely on true events) features a racially diverse cast of characters (white, African American and Native American) representing the working-class, middle-class and the criminal underground.

Culture Clash: A marshal and his deputy go on the hunt for the Rufus Buck Gang, a group of ruthless biracial criminals who are committing racist hate crimes against white people.

Culture Audience: “The Night They Came Home” will appeal primarily to people who are fans of the movie’s headliners and Western movies, but this movie is more nonsensical than historically accurate.

Charlie N. Townsend in “The Night They Came Home” (Photo courtesy of Lionsgate)

“The Night They Came Home” is an endurance test to see how long viewers are willing to watch an excruciatingly bad movie. Everything about this shoddily made Western reeks of amateurish filmmaking. It’s also a terrible depiction of a half-Black/half-Native American gang on a racist rampage against white people, with horribly acted scenes pretending to be historically true.

Directed by Paul G. Volk and written by John A. Russo (with additional writing by James O’Brien), “The Night Came Home” is very loosely based on true events of the real-life Rufus Buck Gang. This group of biracial marauders went on a killing spree specifically targeting white people out of “revenge” for the racism they and their ancestors experienced by other white people. The gang members are angry about enslavement of black people and the near-genocide of Native Americans, so these thugs are taking out their anger on anyone who is white.

“The Night They Came Home” is not supposed to be a “revenge fantasy,” such as filmmaker Quentin Tarantino’s 2012 fictional movie “Django Unchained,” which is about an enslaved man who gets revenge on his captors. “The Night They Came Home” is supposed to be based on real history and is just a pathetic excuse to make a “reverse racism” Western. All the acting, dialogue and technical aspects of the movie look as phony as a $3 bill. Very few people in the film look convincing as being from the 1890s.

“The Night They Came Home” begins on July 1, 1896, by showing gang leader Rufus Buck (played by Charlie N. Townsend) in Fort Smith Jail in Arkansas. Rufus is awaiting his execution. For viewers who don’t know the story of the Rufus Buck Gang, there goes any suspense about what’s going to happen to the gang leader, since the movie reveals right from the start that he was captured and executed.

Rufus, who seems to have some mental health problems, looks unusually cheerful for someone who knows he’s about to die. As the sun shines into his jail cell, Rufus smiles and says out loud, “Hello, sun. My last time getting to see your rise.” He also mentions that he’s separated from his “brothers, though I know we shall reunite when we leave this earth.”

A flashback then shows a younger Rufus being physically hit by a white priest, who snarls: “We will kill the Indian in you, Rufus Buck, to save the man.” The “man” is supposed to refer to the white race, but somehow in this 1890s lingo, these character in the movie are talking about “the man” as if they’re stuck in a 1960s counterculture movie.

It gets worse. “The Night They Came Home” has an added narrative layer of a gravedigger named Digger (played by Danny Trejo), who’s sitting in a bar when he meets a stranger with no name (played by Martin Kove) to tell the story of the Rufus Buck Gang and the law enforcement people who went on the hunt for the gang. Digger says that the end of the Wild, Wild West was on July 1, 1896, when the “last outlaw gang was hanged.”

The stranger has a nameless “lady of the night” (played by Carson Lee Bradshaw) by his side as his companion. She’s basically a prop who doesn’t say much of anything. The stranger and his companion sit down at Digger’s table to listen to Digger’s tale. Most of the movie then flashes back to 1895, the year of the Rufus Buck Gang’s biggest reign of terror.

In addition to Rufus, the other gang members are Sam Sampson (played by Hugh McCrae Jr.), Mamoa July (played by Ivan Villanueva) and brothers Lucky Davis (played by Phillip Andre Botello) and Lewis Davis (played by Nicholas Rising), who all have indistinctive personalities. Someone who later joins the gang is Rufus’ cousin Charles “Charlie” Buck (played by Chase Stephens), who is portrayed as someone who was recruited by Rufus and gets corrupted by these criminals. During the gang’s crime spree, Rufus impersonates a sheriff to gain the trust of his victims, who are usually viciously tortured and killed.

The Palmer family in Choctaw Nation, about 20 miles outside of Fort Smith, will be among those who have the misfortune of encountering the Rufus Buck Gang. The ranch-dwelling Palmer family consists of married parents Chuck Palmer (played by Brian Austin Green) and his wife, whose name and actress are not listed in the movie’s credits; their teenage children Tommy Palmer (played by Kassius Marcil-Green) and Jolene Palmer (played by Kelsey Reinhardt); and Chuck’s parents Jake Palmer (played by Bobby Reed) and another unnamed and uncredited female character.

There’s a home invasion of the Palmer family’s ranch that leaves one person dead in the house and another person kidnapped. The gang also goes after two other members of the family in a separate place outdoors, and only one of the two will make it out alive. Let’s just say that even though Green gets top billing in “The Night They Came Home,” he’s in the movie for no more than 15 minutes.

The law enforcement officials who go after the gang are marshal Heck Thomas (played by Tim Abell) and his deputy marshal George Maledon (played by Peter Sherayko), who are both from Fort Smith. Heck and George barely do any interviews in their investigation. Their main informant is Peter Nocono (played by Jayd Swendseid), who conveniently gives them the crucial information they need to know which way the gang is headed. They also enlist the help of locals such as Sam Sixkiller (played by Sam Bearpaw) and Paden Tolbert (played by Tommy Wolfe).

One of the most cringeworthy scenes in the movie shows what deputy marshal George says to a surviving Palmer family member who has found out that most of the other family members have been murdered: “We all die. It was their turn. Relax.” And he’s supposed to be one of the good guys?

There are also some random-looking cameos. Weston Cage (Nicolas Cage’s eldest child, also known as Weston Cage Coppola) plays a silent bartender named Bob in the bar where Digger tells his story. The bartender looks more like he’s in a heavy metal band from the 1980s, not a bartender from the 1890s. Robert Carradine has a very brief appearance as a bootlegger named Bart, whose fate is exactly what you think it will be.

“The Night They Came Home” is a complete failure of trying to show anything except senseless killings, chase scenes, and occasional interruptions to remind people that Trejo (doing his usual “gruff and rough character” schtick) is in this movie as the “storyteller.” Townsend portrays the sadist Buck as someone who’s constantly smirking, but it comes across as more clownish than villainous. At least he puts effort into his character having something memorable about his character. Everyone else’s performances in the movie are just dull or sometimes painful to watch. For a movie that’s about murder and mayhem in the Wild West, “The Night They Came Home” is actually limp and listless, and the only real assaults are on viewers’ intelligence, patience and time.

Lionsgate released “The Night They Came Home” in select U.S. cinemas, digital and VOD on January 12, 2024. The movie will be released on Blu-ray and DVD on February 27, 2024.

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