Haaga knows what works, and ensures that we get heavy doses of the good stuff (although more Alisha Boe would have been nice).

It’s a little amazing how a story so guilty of gross-out violence can retain a share of comic innocence.

Haaga and crew aren’t aiming for realism (let alone plausibility) in their raw-luck tall tale, but they straddle cartoonishness and cruelty evenly enough that what some will find hilarious may strike others as just gratuitously mean-spirited.

It is Gubler’s appealing performance that anchors the proceedings.

The story suffers diminishing returns as it unwinds with increasing violence and absurdity. Or maybe it’s just that “68 Kill” puts the best material upfront.