Fusing two distinctly disparate movie genres into a single offering can be a risky proposition for any filmmaker. If handled skillfully, the finished product can turn out to be a bona fide masterpiece. But, if the opposite is true, it can prove to be anything from a moderate disappointment to an undeniable embarrassment. When combining the elements of a crime saga/thriller with an LGBTQ+ romance, results at both ends of the spectrum can be found in releases like the cinematic classic “The Crying Game” (1992) and the underwhelming undercover cop romance “Plainclothes” (2025). And, sadly, another entry can now be added to the far end of that list of fusion projects, the latest work from writer-director Dean Francis. This ambitious but often-awkwardly handled would-be LGBTQ+ thriller from Down Under follows the exploits of closeted, long-celibate Police Officer Aiden Hardwick (Tim Pocock), who’s recruited to be an undercover cop working an investigation centered in a Sydney gay bar. He soon finds that the club’s owner, Fat Frankie (Paul Capsis), a drag queen who comes across like an Aussie version of Harvey Fierstein, is the kingpin behind a major drug-dealing operation whose crimes have long been covered up by dirty cops. Those circumstances are further complicated by Frankie’s blackmail campaign against his police protectors, including an extensive library of compromising videos of them shown engaging in even dirtier behavior with victimized bar patrons and employees. And, if that weren’t enough, Aiden’s job becomes even more difficult when he becomes seriously distracted by falling for one of Frankie’s bartenders, Cody (Tom Rodgers), who recklessly plays both sides of an array of danger-filled fences, including the one involving his admirer’s heart and self-acceptance as a gay man. While this may sound like an intriguing setup for an edgy romance/crime caper, its execution is often scattered, taking off on multiple tangents whose connections to one another aren’t always especially clear. What’s more, the back story behind Aiden’s celibacy and closeted status (and his efforts at dealing with both) are somewhat hazy, making one wonder how they arose and why he would have subsequently volunteered for the undercover assignment in the first place. In essence, there’s far too much going on here to keep track of everything that’s transpiring, the significance that should be accorded to all of the narrative’s various developments and where it’s all ultimately headed in the long run. Indeed, a tighter story and script, better defined character development, and fewer gay and crime drama clichés would have gone a long way toward making “Body Blow” a better picture and not one that’s all too easily forgotten.