Unveiling the MEAT Slasher Experience: An In-Depth Review by Kyle Haines
- Joshua Love
- Jun 16
- 5 min read
Updated: Jun 19
"[T]his is not only the best indie film I have seen thus far come out of Cleveland, but it’s also one of the best films of 2025, period."
Slasher films have existed since breads been sliceable. They come in all shapes and sizes. “Friday The 13th”, “Scream”, “Halloween”, “Valentine”, “Urban Legend”, they exist because of a formula (“A VERY SIMPLE FORMULA!”) and that formula works like gangbusters. Even going back to old mysteries from Agatha Christie, trying to piece together who the killer (or killers) are is really fun. Sometimes, they’re easily guessable (“Friday The 13th” and “Halloween” is the same dude over and over, I just wanna put that out there), while some take you by surprise (I will never forget my jaw hitting the fricking floor when I first saw “Scream 4”).
Now, look at the slashers made for the LGBTQIA+ crowd. It seems limited in comparison. There’s stuff like 2005’s “Hellbent”, there’s the “Chucky” tv series, and some films with subtext but not full on about these people. Although, last years “I Saw The TV Glow”, which is an LGBTQIA+ variation on “Donnie Darko”, worked extremely well, that it felt like you were discovering something new. And that’s what it feels like when you’re watching “Meat”, a new, independent slasher made for this community and its allies that feels revolutionary and game changing. This is a film made by people with love for the genre and adoration for the communities they represent.
After a night of partying from a group of friends resulting in a hazy, drug fueled rage, a young man is left dead and the one to take the fall is Noah (Cody Steele). Four years later, fresh out of prison, Noah has trouble acclimating back to a somewhat normal life. His sister Kayleigh (Haley Lynn Rose) tries like hell to keep him in line, but he finds himself drawn back to his group of friends. Slowly, one by one, these same friends start getting picked off by a stylishly masked man known as “The Stud”, garbed in spiked leather. Noah is deathly afraid and can’t catch a break from any scrutiny, but doesn’t want to die. With help from other resources, he’ll claw his way out of this hole he’s in to maintain his innocence.
Directed by Roger Conners and co-written by him and Zach Shildwachter, “Meat” is a film that shows undeniable and unending love for its characters and its LGBTQIA+ community, that it’s entirely difficult to imagine anyone else helming the same story and executing the same landing. Roger’s handling of every facet of this film is truly amazing; his hands firm and his talents completely evident in every frame. From the stylish opening credits, reminding of ‘70’s and 80’s Grindhouse style films, to the immaculate cinematography and color grading from DP Mick Kunz, this is a film where every ounce is filled with passion and every frame is oozing talent.
The writing is also very well done. This is a script that not only shows intense love for the slasher and horror genre’s, but also care, love and respect for the LGBTQIA+ community. This is a film for them, relishing in how diverse everyone is and lovely they can be. They deserve their time in the spotlight, and with the script’s handling and care, they shine brighter than ever. These are some of the best characters out to screen in a long while.
Performances are first rate. Cody Steele, an actor who’s made waves before, is transcendently new here as Noah. Noah is a wonderful protagonist, very vulnerable, scared, and yet resilient and forceful. This is a man scared enough being who he is, and when the killer comes calling, he’s voraciously terrified. Steele has never been better. As his group of friends, Matt Kane is awesome and funny as Vinny, a man emulating 90’s Jean Claude Van-Damme and being unashamedly proud of it; Hussein Hassan is boldly terrific as Mo, a privileged man holding onto his father’s status as a powerful judge and thinking he’s untouchable; Anthony Covatta is deliciously spiteful as Dante, a man with a giant chip on his shoulder that doesn’t care who he hurts; Jason Eno Samuel is a scene stealer as TJ, with instantly quotable dialogue and earning the films biggest laughs; Margaret Harper Jenkins is beyond wonderful as AleXXXi$, who also gets the films most gagged line during a funeral service; KateLynn E Newberry is terrific as Theo, a woman who cares for Noah, but is also scared of what’s happening, and George Tutie is dynamite as Chris, a security guard turned real cop who steadfastly believes in Noah’s innocence. Finally, Anthony Dain is fantastic as Tristain, a coworker of Noah’s who grows closer to him as the story goes.
These performers are all fantastic in general, but goddamnit, they are perfect here.
The same goes for those in smaller roles. As they say “there’s no such thing as small parts, only small actors.” Haley Lynn Rose is warm as Kayleigh, Noah’s sister, trying like hell, from the opening scene onward, to keep her brother on the best path possible. Rob Grant III and Fred Munkachy are excellent as the two detectives who grow into Noah’s trail after The Stud starts killing people; Rachel Anderson is stunning as Ellen, the vengeful mother of the man killed; Angelina Green is kind and gentle as Coral, Noah’s new boss, and in smaller but still impactful roles, Lina Edwards, as another coworker of Noah’s, Shannon Marullo Ahlstrand as Mo’s father’s housekeeper Nina, Michael Steck as Mable, Noah’s Landlord, and even Roger himself as a designer at Noah’s boutique job are all terrific.
Filled to the brim with utterly stunning special and visual effects, and fantastic music (not only are the soundtrack selections utterly divine, but the original score by Joshua C. Love is awesome) and love and care, this is a film that means something. At 131 minutes, the film flies by (its pacing is incredible) and never once dull, “Meat” is everything you could ever want from a LGBTQIA+-centric slasher film and more. At a time when our current climate is horrifying for these people, this film is the giant middle finger to all of those opposed to them and it bites with visceral furiosity. As an ally, myself, viewing the film was not only a breath of fresh air, but also another gaze into how this world works. It’s more fun to be in with the fun than weirdly opposed to it. I mean this when I say this: this is not only the best indie film I have seen thus far come out of Cleveland, but it’s also one of the best films of 2025, period. It’s a stunning achievement, and everyone involved should be so proud.
And Roger? Never ever stop making movies. Never lose that heart of yours because it’s one of the biggest ones we have here. And never ever stop being you. If you didn’t exist, this kind of talent wouldn’t either and that would be a shame. You’re immensely loved.
And I wanna be in your next movie.
Kyle Haines
FINAL GRADE: 👑👑👑👑
4/4 Stars
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