It's All Hallow's Eve. A trio of costumed misfits with very special dietary requirements seizes a Mexican cantina and force the staff to engage in a late night of gaming, food and libations. The only caveat is what's on the menu.

Sarah Walsh is a struggling actress who recently moved back home to care for her terminally ill father. To make ends meet she works as a caterer and, as the film opens, is left to tend to the post-funeral gathering for Hank Boyd, a quiet loner who stood accused of a horrific crime and took his own life before standing trial. Sarah knew Hank in high school and, while he was a strange kid, doesn't believe that he could do something so terrible. Her suspicions grow stronger after she meets Hank's brother David, a local cop with a checkered past, his dimwitted partner Ray who's charged with guarding the house, David's mother Beverly who's in the latter stages of dementia and Aubrey, his distant and obviously damaged younger sister. When Sarah overhears David and Ray talking her suspicions turn to alarm as it's implied they were somehow complicit in Hank's death and may have plans for her as well. Meanwhile Beverly has become convinced that Sarah is her long lost daughter while Aubrey ... Written by Sean Melia

A decade and a half after their seminal indie film launched meteoric filmmaking careers, Splick and Jason find themselves staring at their own individual, pre-midlife crises. Having not spoken to one another since a late-nineties falling out, they're each grappling with the challenges of stalled careers and relationships, as the hands of time creep ominously past forty-o'clock. Splick's most recent TV show, centered around his character's perverse relationship with dessert foods, is unceremoniously cancelled by the network, forcing a return to his childhood bedroom at his mother's apartment in New York. Frustrated by a barrage of comments about the "good," "funny," movies he used to make with his old partner, Jason, Splick determines to seek him out and attempt a reunion.