Maximum Truth’s premise is so close to how the game of politics is played today, it’s not even funny. Luckily, the movie is.

The mockumentary follows political consultant Rick Klingman (Blockers’ Ike Barinholtz) on his latest assignment: digging up dirt on a California Congressional candidate (Max Minghella, 2021’s Spiral) who appears to be squeaky-clean.

Like that will ever stop Klingman — grifters gotta grift. For help, he ropes in his backward-capped bro bud, Simon (The Maze Runner himself, Dylan O’Brien), a protein-powder entrepreneur. Their boneheaded investigations lead them to the candidate’s former classmates, past co-workers, mere acquaintances — hell, anybody — who might point them to sexual harassment cases, sex tapes and other potential reputation besmirchers. At every turn, they fail with spectacular incompetence. Even with the crap allegations they invent.

Halfway through, I realized Klingman and Simon are basically the intentionally funny versions of real-life conspiracy theorists/convicted felons Jack Burkman and Jacob Wohl. Barinholtz and his co-scripter, director David Stassen, allow viewers to draw parallels from the duo’s chicanery without smacking them across the face while asking, “Didja get it?” Another good example: After we meet Klingman leading a protest against a play about a gay Abe Lincoln, we meet his “roommate,” Marco (comedian Tony Rodriguez, stealing each scene); rather than underline the hypocrisy, the film lets it exist without comment.

With choice bits from Beth Grant (Little Miss Sunshine) as Klingman’s pain pill-popping benefactor, Kiernan Shipka (Sally from TV’s Mad Men) as a gun-loving would-be donor and comedian Jena Friedman (one of the funniest people on the planet, period), Maximum Truth feels more outlined than scripted, meaning I suspect the film is largely the result of improvisation.

That’s all fine and dandy since I laughed to myself throughout. I laughed out loud — and I mean loud — once, right after Klingman compares Simon to Jason Bourne; not top-of-mind known for comedy, O’Brien reacts with a move that’s entirely physical and one of the most hilarious things I’ve seen all year. I just wish the climax, lacking proper payoff, packed half that much punch. —Rod Lott

Get it at Amazon.

Pardon me, but my American heritage is showing. Since childhood, I’ve occasionally confused Heidi with Pippi Longstocking. One Euro white-girl kid-lit icon is the same as another, right?

Until now. Heidi is the one who says, “Rest in cheese, bitch,” as she shoves a rubber hose of milk up her enemy’s pooper. According to the movie Mad Heidi, that is. (Or is that action part of 1880 canon?)

For 20 years, all cheese has been illegal, except the Meili’s brand (“Now 30% lactose!”), owned by and named for the president of Switzerland (Dracula 3000’s Casper Van Dien, clearly having a ball). As the Swiss National Day celebration approaches, Meili schemes with his chief cheese scientist (Pascal Ulli) to ensure his cheese will make his subjects “dumb as fuck.”

But not if mountain girl Heidi (newcomer Alice Lucy) can help it. After her goat-farming boyfriend (Kel Matsena) is murdered for his underground goat cheese operation by Meili’s Kommandant Knorr (the Joe Pesci-esque Max Rüdlinger), she trains in the ways of pointy spears for vengeance.

Her pigtails and Swiss Miss clothing belie her prison-honed makeover as a killing machine, programmed with quips straight from a discarded draft of the Book of Schwarzenegger. “Now that’s what I call a swan song,” she states upon murdering a man with his accordion.

As if you needed telling, the movie is a side-of-barn broad comedy packed with cheese puns, cheese sight gags and cheese allusions — all played out by the second scene. If you think I’ve gone overboard with the word “cheese,” director and co-writer Johannes Hartmann takes note and exclaims, “No whey!”

All a goof, Mad Heidi is cut from the same cheesecloth as the ironic likes of Sharknado, Snakes on a Plane or Hobo with a Shotgun, desperately and transparently attempting to achieve instant cult status through sheer willpower. It doesn’t deserve it, nor will it be granted that, yet the flick is hardly a cash grab or lazy exercise.

Mad Heidi is best when it parodies the women-in-prison subgenre or goes strictly for gore, as purposely garish as the Alps are spacious (and no doubt the influence of Troma veteran Trent Haaga as one of four screenwriters). However, no moment is as funny or knowing than its Swissploitation Films title animation, spoofing the Paramount logo. I give Hartmann and his cast credit for dedicating 110% of themselves to the joke, even if it would work better as a 90-second fake trailer than the 90-minute feature it is. —Rod Lott

Get it at Amazon.