Pandemonium

The anthologised segments feel quite generic, there to service a one-note misanthropy... But on top of some nice early visual touches, Pandemonium has a consistent dolorous poise.

“Pandemonium” serves as a kind of classical katabasis, with a flourish of medieval fatalism, painted with a giallo palette.

Yes, it's all very Catholic in its take on right and wrong, and French writer-director Quarxx wallows in this simplistic morality while having a lot of fun with elaborate sets, makeup and gore. It's also expertly shot, edited and acted.

“Quarxx guides the audience along through a French nightmare tale in ‘Pandemonium’ but doesn’t seem fully invested in what’s scary beyond the surface-level gore. He swings for the fences and falls on home plate in the process.”

In the end, it makes for a fascinating watch. The twisted main story gets off to a great start. There is a depth that will pull audiences in. However, once the side stories kick in, Pandemonium loses steam. 


Pandemonium is a haunting take on the afterlife that calls into question what sins truly deserve eternal damnation.

If it was not for the philosophical elements and production quality, “Pandemonium” would feel like a feature length pilot for a horror anthology television series like “Tales from the Darkside,” “The Outer Limits,” “Masters of Horror”

While the threads are loose between the segments, one thing becomes clear. Humanity, in all of its various intricacies and perspectives, is at the center.

[Pandemonium] isn’t nearly as satisfying as it could be. The premise for this is awesome, but the execution finds itself wanting. It’s not quite style over substance, it’s just that the substance lacks cohesiveness and direction.

Quarxx is bound to hit on at least one tale that will appeal to every horror fan. It’s not a seamless approach, but it’s never less than compelling.