Bad Haircut wastes no time pulling you in. The film opens with a long, unbroken party sequence that instantly calls back to American Pie. It is loud, chaotic, and alive, perfectly setting the tone for what follows. The music choices here, including Flo Rida’s “Get Low,” hit with a nostalgic punch, instantly transporting me back to high school parties.
At the heart of the story is Billy, played with a gawky sincerity that recalls a young Tim Heidecker crossed with RJ Berger. Billy just wants a confidence boost after striking out with girls, so his friends take him to Mick’s barber shop. What should be a routine haircut spirals into one of the strangest, funniest, and most unsettling nights of his life.
And that brings us to Mick. Frankie Ray’s performance is one for the ages. Mick is hilarious, creepy, and impossible to look away from. With his red shoes, wild movements, and the swagger of Dee Snider fused with Keith Richards, Mick owns every scene he’s in. He consults a Magic 8-Ball to make haircutting decisions, shows off his “nudie 40s collection” (complete with “tits and weiners too”), and dances with a mix of menace and charm. When Mick cuts your hair, it is more than a haircut; it’s an experience. He is one of the most interesting characters in years, unpredictable and magnetic, and he delivers some of the film’s most quotable lines.
The film thrives on that unpredictability. Each time you think Billy might escape, another bizarre obstacle arises, keeping you on the edge of your seat and never letting you relax. At times the movie leans into absurd comedy that makes you grin, and at others it shifts into chilling horror, like when Mick takes Sam (Nora Freetly, beautifully understated) on a date or performs a dance that feels ripped straight from Silence of the Lambs.
Supporting performances shine as well. Michael Bonini, so strong in Snack Shack, is perfectly cast here as a smirking jerk. Martin Klebba gets moments to stretch his range and makes the most of them. And then there are the cameos—Mindy Sterling, Kevin Dunn, Larry Hankin, Rob Raco, and others—that feel playful and organic rather than tacked on. Unlike most horror films that lean on stunt casting, these appearances add flavor without breaking the flow.
The soundtrack is another highlight. From Spacehog’s “In the Meantime” to Heart’s “Alone,” the needle drops are not just background noise but emotional anchors. “Alone” in particular elevates a late-film scene into something unforgettable, perfectly encapsulating the journey that brought us there.
By the time the story loops back to the party where it all began, Billy has transformed. No longer the awkward outsider, he now moves with confidence, chatting with the girls who once intimidated him. The structure feels intentional, a full-circle payoff that underscores the strange coming-of-age buried within the madness.
With sly mentions of The Sandlot and Willy Wonka, a pitch-perfect soundtrack, and a central performance that is equal parts comedy and nightmare, Bad Haircut is destined for midnight movie status. It is absurd, quotable, creepy, and heartfelt all at once. Mick may steal the show, but the film as a whole is a riotous ride worth taking.
Jessie Hobson