Chris says: “A social media satire that might’ve seemed fresh had it come out a decade earlier, but Dupieux/Exarchopoulos is turning out to be as inspired and correct a pairing as Scorsese/De Niro (and no one has ever rocked a
Chris says: “From the central conceit of the Mighty Morphin Power Rangers-esque pastiche to a suitably slimy Serge Gainsbourg tune playing at the opening, this is pure, unfiltered Quentin Dupieux madness; also, he should really consider an origin prequel series
Michael says: “Most of French director Quentin Dupieux’s films begin with a simple, but completely bizarre and often ridiculous premise, that he is then able to spin into an entertaining yarn with some social commentary threaded in. With MANDIBLES, a
Chris says: “The ‘latest’ from filmmaker Quentin Dupieux actually precedes 2019’s DEERSKIN, having come out in France in 2018. Just receiving a US release now, it initially feels decidedly low concept coming from this director, as a cop (Benoît Poelvoorde)
Chris says: “Not as inventive or all-out gonzo as RUBBER or WRONG, but neither of those had the weird chemistry that materializes between Jean Dujardin’s weasel-like enigma and Adele Haenel’s at first bemused, then all-in co-conspirator. So, I’m thankful Quentin
Jason says: “A sad thing about how peculiar movies like those made by Quentin Dupieux are likely to be more readily available to a larger audience via the various on-demand services is that I’m certain that, at some point while
Jason says: “RUBBER was surreal. WRONG was bizarre. Spinoff WRONG COPS is peculiar. At this rate, Quentin Dupieux is only a few films away from doing something eccentric but basically sensible. Fortunately, he’s not there yet, and the plentiful gags he