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Direct, surreal, and raw, a strange little film made on a microbudget that’s way better than it has the right to be. Written and directed by Evan Kidd, Panda Bear It is a charming film about a local rapper who finds himself trapped in a deep depression after the passing of his girlfriend. The film unfolds as a melody played from the keys of a piano, slow in low blue light inside the hold of a dreamlike haze. In other words, it deals strictly with emotion and handles said emotion with gentle hands.

Kamus Leonardo (Damien Elliot Bynum) is frozen. He’s still here, still living, but he doesn’t feel alive anymore. His girlfriend Destiny was his anchor in life, someone who saw something in him that he couldn’t see himself, and without her, the world has just stopped dead. On top of all that, he’s also seeing a panda bear everywhere he goes, or a person in a panda suit.

Yep. A panda suit.

It’s just hanging around. Big panda head hovering in worry over Kamus’s prone body on the couch, squeaky vocal cords chastising him for not eating anything but snack food. The panda is honestly a little creepy. It’s not supposed to be but there’s just something unnerving about a person walking around in a full animal consume all nonchalant in the background. So cute, so creepy. The panda serves as a symbol of Kamus’s grief and what he’s lost, what he misses, and his will to keep fighting. Every time he wants to give up, Panda won’t let him. I think it’s safe to say that pandas were Destiny’s favorite animal.

Stuck in a creative rut. He spends his days eating cheese puffs and avoiding any kind of painful thoughts. Making Kamus one of the most relatable movie characters of all time.

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This is a short film. Credits included, it’s just 63 minutes. Proving a film doesn’t need to match the time it takes to commute from Cape Coral to St. Petersburg in order to be good. Take a note here people, stop making two and a half-hour long movies!

The short runtime forces everything to move along very quickly though, throwing Kamus in the final two stages of grief that immediately takes viewers through his depression into the early, but tender, stages of acceptance. Unlike other films about grief which often creates a before and after effect, showing life with Destiny and then without, Panda Bear It throws you in the middle of it. Jumping in the water already half-drowned. The wound is no longer fresh, having some time to improperly heal like a cut that stopped bleeding but never closed. Kamus has mourned, but in doing so, he’s become numb to the world. He’s lost the will to live and no one can get through to him. No one except Panda, who finally urges him to get out of the house.

Notebook in hand ready to be filled with rap lyrics, the two embark on a cross-country road trip where they see that someone everywhere is grieving from something in their past. “You’re not alone.”

Apparently, Panda Bear It was made on a budget of $500 but it does not feel like it. Every penny was well spent. The score, audio, and cinematography are all spectacular. The opening shots of the film especially, featuring the two departed lovers embracing in a field lit by dusk is absolutely gorgeous to look at.

A quick but powerful study of the mourning process, Panda Bear It has a lot to say and it says it well. Sincere and honest in its portrayal. There are different ways to deal with grief and Kamus goes through a bunch of them, blending the surrealist depression with dry humor and real charm.

There are some light horror undertones in this feature, only in the very beginning though. It lives within Kamus, in his fear of accepting that Destiny is gone and she’s never coming back. Her absence is quite literally haunting him.

You can stream Panda Bear It now on Amazon Prime

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3.5 out of 5 stars (3.5 / 5)

If you want to check out the movie, click on down or on any of the amazon prime links. Remember, if you do view it via the links we get some $ from it.

Rachel Roth is a writer who lives in South Florida. She has a degree in Writing Studies and a Certificate in Creative Writing, her work has appeared in several literary journals and anthologies. @WinterGreenRoth

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Movies n TV

My Best Friend’s Exorcism, a Film Review

My Best Friend’s Exorcism (2022) is a R-rated horror comedy directed by Damon Thomas, available on Amazon Prime.

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My Best Friend’s Exorcism (2022) is a horror comedy directed by Damon Thomas. Based on Grady Hendrix’s novel of the same name, this R-rated film stars Elsie Fisher, Amiah Miller, Cathay Ang, and Rachel Ogechi Kanu. As of this review, the film is available to Amazon Prime subscribers.

Abby Rivers (Elsie Fisher) and Gretchen Lang (Amiah Miller) seek to escape the monotony of high school drama with their friends. However, in their efforts to have fun, Gretchen Lang encounters a troubling otherworldly demon bent on controlling her body. It’s up to Abby to help her overcome this demonic threat.

A VHS style cover with a girl with red eyes dominating the page. Two girls below here with pink balloons. A clocktower to the right and a field to the left
My Best Friend’s Exorcism Novel Cover

What I Like in My Best Friend’s Exorcism

The effects are surprisingly good. While not overwhelming, these effects never take me out of the film. Even the less realistic scenes fit the overall tone while looking better than expected or required. The 80’s aesthetic strengthens that believability.

Continuing that thought, My Best Friend’s Exorcism oozes the 80’s. Perhaps this comment should set an expectation for the viewer. I can’t exactly comment on the accuracy of the era, but it certainly fits the era of film. If 80’s films don’t interest you, consider looking somewhere else.

While I don’t meet the target audience, the jokes land and provide an enjoyable horror comedy feel. My Best Friend’s Exorcism focuses more on comedy than horror, but this remains a common trend in horror comedies.

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The performances remain strong throughout, with leads Elsie Fisher and Amiah Miller pulling off that best-friend chemistry. The cast purposely captures that 80’s nostalgia. Added to the campy nature of the film, one might grow irritated with the acting choices. For me, it certainly fits with the tone and setting.

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Disclaimer Kimberley Web Design

Tired Tropes and Trigger Warnings

Drug use might deserve a mention on this list. While I don’t find this egregious, I imagine this point, or some other technicality, earns the film its undeserved R-rating.

The possession lends itself as a rape allegory, with some characters even believing this to be the trauma Gretchen Lang suffers from. While this isn’t the case, the conversation remains for those who want to avoid such material.

Body horror describes a few scenes of the film, though sparingly. However, one scene convinces me to bring this up for those who get squeamish at the cracking of bones or slimies in the body.

A character is tricked into outing themselves and faces some homophobia because of it. This homophobia is rightfully taken as cruel, not condoned in the slightest, but it remains potentially triggering and deserves mention here.

Two girls sit on a bed, looking at each other. Flower wallpaper in the background.
Elsie Fisher as Abby Rivers (Left) and (Amiah Miller as Gretchen Lang (Right)

What I Dislike, or Food for Thought on My Best Friend’s Exorcism

This film seems to earn its R-rating off some technicality. It is neither raunchy nor gruesome for those expecting that from their R-rated horror films. For me, it’s more an issue of setting expectations. I expect my R-rated horrors to hit hard. My Best Friend’s Exorcism doesn’t.

It would be unfair to expect something like Jennifer’s Body, as this is a lighter and zanier film. There are elements of sisterhood and bodily autonomy that echo the cult classic, but My Best Friend’s Exorcism remains an entirely campier affair.

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In terms of performances that lack the intended impact, three over-the-top anti-drug spokesmen outstay their welcome. It’s clearly a jab at D.A.R.E., which certainly works in increments, but then one character becomes an important part of the plot and still keeps his caricature.

Final Thoughts

My Best Friend’s Exorcism fits the taste of an 80’s horror comedy fan. Don’t expect to be frightened at any point, but the comedy lands well enough. The film knows its niche and hits most of its targets. It’s hard to say if the film will stand the test of time, but it certainly earns its runtime.
3.5 out of 5 stars (3.5 / 5)

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Movies n TV

American Horror Story Delicate, Rockabye

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There’s a lot to unpack from this episode of American Horror Story Delicate, Killer Queens, so I don’t want to waste any time. I just want to take a moment and issue a trigger warning. This episode, and therefore this review, talks about several topics that might be upsetting. These include abuse, pregnancy trauma and miscarriage. It’s heavy. If you’re not up for that, here’s a link to my review of Tucker and Dale, which is considerably lighter and funnier.

The story

Our episode starts with Anna trying to get the police to take her seriously about the break-in. There’s just one problem. No one was seen coming in or out of the apartment except Dex. No one shows up on any of the security footage. The police are convinced it’s just Anna’s IFV medication making her see things.

But Anna doesn’t have time to think about the break-in. She’s just been nominated for a Gotham award, and she needs to get into full Awards Show mode. Siobhan gives her something she calls B12 and tells her that her life now revolves around awards prep.

But Anna’s whole life can’t revolve around that, because she’s pregnant now. Even though she seems to be losing time. Like, weeks at a time without even realizing it.

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Things just get stranger when she’s at the Gotham Awards and accosted by an overzealous fan in the bathroom. After the woman puts her hands on Anna’s stomach, she knocks her over and the woman hits her head on the sink.

Rather than aiding the woman, Anna goes out to accept her award.

Or does she? After throwing up blood on stage, she finds herself back in the bathroom, being helped up by paramedics.

Everyone agrees that Anna needs some rest and space to heal. So she and Dex go to Talia’s house in the country. There, of course, everything gets much worse. Anna starts to bleed after a yoga session and is taken to the hospital. There, she gets an ultrasound by Nurse Ivy. A nurse that no one else knows at the hospital.

Cara Delevingne in American Horror Story Delicate.

Sadly, the bleeding doesn’t stop. And as we end the episode, it appears that Anna has lost her baby.

What worked

Emma Roberts is doing a fantastic job playing Anna. Proving as always that American Horror Story actors are nothing if not flexible. I find myself wanting to compare Anna to Madison Montgomery from AHS Coven. They’re both actresses who experience abuse from men that one might, sadly, expect for women in their station and age range. Madison is gang-abused by frat boys, and Anna has her autonomy taken away from her as soon as a baby is in question.

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That’s where the similarities stop. Can you ever imagine Madison saying, “You’re right, I’m sorry,” to literally anyone? She’d have snapped a man’s neck first. Anna’s body language, voice modulation, and the overall way she carries herself in the world is so different.

This is also part of what makes her relatable. I imagine many of the female-presenting people reading this can remember a time when we’ve said, you’re right, I’m sorry when they were wrong and we weren’t sorry at all.

Maaz Ali in American Horror Story Delicate.

I also really loved the amount of blood in this episode. There is so much blood involved in being a cisgender woman. It’s something we take for granted, but shy away from when in polite company. There was no shying away here. We’re made to see all of it. I don’t think the amount of blood in the miscarriage scene was overkill at all. If anything, it wasn’t enough.

Finally, it’s a small point but one that I appreciated. I bet you already know the one I’m talking about. When Anna is overjoyed to get to wear the same dress once worn by Madonna, Siobhan reminds her in a stern voice not to rip it.

If you didn’t get the joke, look up Kim K and an incident with the iconic Marilyn Monroe dress. I do appreciate anyone who can poke fun at themselves.

The reference to ‘don’t rip it’ with the dress was fun. I hate Kim K and her whole family, but that was funny.

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What didn’t work

I’m honestly struggling to find anything in this episode that didn’t work. If I had to pick out something I didn’t like, it was probably that we got the barest cameo from Zachary Quinto. I really hope we get to see more of him as the season progresses.

Another thing I don’t like overall is the character Siobhan. I mentioned this last week, and I’ll try not to mention it again because I don’t see it changing. But the character in the show is a bare reflection of the one in the book.

Siobhan in the book was a loving, selfless friend. Which made the ending, well, let’s say impactful to avoid spoilers for both AHS and Delicate Condition. This version, if she continues as she is, is not going to have the same effect.

I’m also quite done hearing the internet swoon over what a great job Kim K is doing. She’s been acting her entire life, I’d be surprised if she wasn’t good at it. And she’s doing no better or worse than many other guest stars have done in the past seasons of American Horror Story. She’s not bad. But she wouldn’t be getting the credit she is if she wasn’t who she is.

Overall, this was a great episode. It was equal parts funny, gory and infuriating. At this point, my only real complaint is that there are only three episodes left until a season break. But now that the writing strike is over, hopefully the break won’t be too long.

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4 out of 5 stars (4 / 5)

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Movies n TV

Cadaver (2020), a Film Review

Cadaver (2020) is a Norwegian post-apocalyptic thriller directed by Jarand Herdal and currently available on Netflix.

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Cadaver (2020) is a Norwegian post-apocalyptic thriller directed by Jarand Herdal. This unrated film stars Thorbjørn Harr, Gitte Witt, and Thomas Gullestad. As of this review, the film is available on Netflix.

After an apocalyptic event, the survivors endure in a hopeless world. Among these survivors are Leonora (Gitte Witt), Jacob (Thomas Gullestad), and Alice (Tuva Olivia Remman), a family fighting the hopelessness of a lost world. Leonora desires to keep her daughter (Alice) hopeful, and when a theater opens in their decrepit city, she thinks she has found the solution to their despair. However, they will all soon learn how desperate people have become.

Golden masks hanging on meat hooks over a dark background. Below reads: "Netflix: Cadaver."
Cadaver Netflix Promotional Art

What I Like from Cadaver

Cadaver takes on a unique focus for a post-apocalyptic movie. While most in the genre tackle the question of where you find hope, the theatrical lens is not one I’ve seen before. It blends these two unique environments together for a pleasant concoction. As a fan of the post-apocalyptic genre, I must admit I find my niche in the everyday lives of someone in such a world.

Leonora’s (usually called Leo in the film) dreamer nature in this horrendously hopeless environment creates a sympathetic contrast. This dreamer nature doesn’t excuse some of her choices, but she evokes sympathy. While most post-apocalyptic entries provide this balance of hope and survival, Leo’s creativity and passion for the arts give her hope and a more focused ideal.

The relationship between Leo and her husband also creates a nice contrast, as Jacob plays the rationalist and survivor. In this decision, both characters provide that post-apocalyptic dynamic of survival and hope. These interactions allow both actors opportunities to create friction as they pull the plot from their differing perspectives.

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I had the chance to listen to the dubbed version, which sounds good. I’m not much for dubs, especially on Netflix, but they did Cadaver with respect and a focus on quality. At the very least, it’s competent and doesn’t distract from the viewing experience.

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Disclaimer Kimberley Web Design

Tired Tropes and Trigger Warnings

As hinted at earlier, there are some dumb decisions in the plot. While many fall within character traits, the actions don’t escape criticism. This flaw becomes incredibly repetitive when characters make the same mistake.

Implied suicide occurs throughout the film with one shown incident, but there are circumstances that change the context slightly. A world this bleak invites this depressive and dangerous state as a normality. However, one should prepare if this is a trigger.

A girl to the left most side holding her mother's hand. Their father walking on the right most side. All wear golden masks as they walk a hallway.
Cadaver Family

What I Dislike or Considerations for Cadaver

Again, some decisions had me roll my eyes and endure the plot. This reaction isn’t exactly the experience I seek out in my horror. It’s more haunting to make sensible, or even intelligent, decisions and still endure unavoidable or unforeseen consequences.

It’s likely that nothing in Cadaver surprises you, which underutilizes the interesting premise. There are unique elements, certainly, but never a twist I didn’t see coming. It’s in that execution that Cadaver falls flat and fails to engage a viewer.

The film doesn’t exactly haunt the viewer, but the bleak world effectively depicts the hopelessness of a post-apocalypse. Don’t expect much genuine horror, but you can expect an appropriately uncomfortable and unnerving experience. In short, viewers of Cadaver likely want a unique twist in their post-apocalypse, not a traumatic horror.

Final Thoughts

Cadaver remains a unique viewing experience by adding a slight twist to its post-apocalyptic story. While not a haunting masterpiece, this bleak film will have you feeling the characters’ struggle. While lacking sensible decision-making skills, they are certainly sympathetic survivors struggling in a hopeless world. If this is your niche, it’s certainly worth a view.
3 out of 5 stars (3 / 5)

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