PANDAEMOVIUM

PANDAEMOVIUM Pro

Film watcher. Horror enjoyer.

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  • Yannick

    ★★★½

  • The Second Act

    ★★★

  • The Monkey

    ★★★

  • The 8 Diagram Pole Fighter

    ★★★★

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  • Yannick

    Yannick

    ★★★½

    A witty, well-paced comedy about the subjectivity of art as well as the fickle relationship between audience and performer.

    The eponymous lead is played with a great mix between frustration, mania and awkward charisma by  Dupieux cast regular Quenard.

    Despite his quirks there’s a lot to relate to. Who hasn’t sat through a rubbish bit of media after a tough day and wanted to give its creator a piece of your mind? Bringing out a gun might be a tad…

  • The Second Act

    The Second Act

    ★★★

    Dupieux loves playing with narrative and structural form and this meta, self-referential satire on creatively bankrupt changes to the movie industry and how films are made is no exception.

    Shot mainly in isolated two-shots on a private airstrip giving the proceedings a distant, often dreamlike feel, as well as in a reworked airfield building/restaurant — there’s some impressively long tracking shots and clever character framing throughout.

    Can’t go wrong with the cast here. Vincent Lindon is a seasoned scene stealer,…

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  • The Curse

    The Curse

    ★★★★½

    Through a series that is equal parts awkward, tense and laugh out loud funny - Fielder and Safdie have (further) proven themselves a creative force to be reckoned with.

    The central performances are all filled to the brim with depth, the standout being Emma Stone who continues to take on projects that are both challenging and embrace the unexpected.

    It also lands one of the most “you have to see it to believe it” endings to grace TV. You think…

  • Kinds of Kindness

    Kinds of Kindness

    ★★★★

    This is Lanthimos back to his surreal nihilistic roots with three dark fables about people whose existence is completely defined by control in one form or another. 

    With a phenomenal cast, an exquisitely considered, oppressive tone you’ll either be transfixed to or repelled by as well as plenty of Yorgos’ trademark pitch black humour — it’s uncompromising in what it delivers.

    While I’ve definitely enjoyed the director’s foray into more accessible work (The Favourite / Poor Things) it’s great to see his return to writing collaboration with Efthimis Filippou has lost none of its bite.

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