PandaMonium (2020)

“BAD PANDA!” An insanely fun homage to the zenith of the slasher genre, PandaMonium is a mare’s nest of mayhem that doesn’t sacrifice. Recently, I was tasked with a change of pace (see: genre) review, a strange detour from what I’m normally accustomed to, and was treated with this 84-minute doozy from Mycho Entertainment. In PandaMonium, Arielle’s first day as a legal assistant for Killmore & Percival goes horrifyingly wrong as she finds herself in a predicament of misogynistic playboy superiors and a serial killer in an oversized panda mask. Will her first day be her last?

If you aren’t already acquainted with Mycho Entertainment, I’d strongly encourage it before pressing ahead. While PandaMonium certainly warrants attention as a stand-alone film, and I reviewed it as such, it is a precursor to Slasher House 2. Certainly, there is a much enhanced viewing experience to be had if you get familiar with the film’s genetic makeup, as well as the opportunity to immerse yourself in Mycho’s joined cinematic universe. Recognized, Mycho Entertainment focuses on producing micro-budget films, so temper expectations of monetary flash and fluff, and prepare to appreciate a calculated indie encounter that gleams with innovation and artistry.

Nevertheless, this granting presents the infamous panda-headed maniac from Slasher House 2 lore, Jacob Jakushi, aka The Stripper Ripper, in his own distinctive spinoff, with his brainsick escapades being prominently paraded as he crashes an after hours office party. Slotting in as the ninth feature film in the impressive Mycho inventory, Pandamonium is slasher-parody in nature, and written and directed by Mycho head honcho, the gifted MJ Dixon. With David Hon Ma Chu rekindling his role as The Stripper Ripper, he is billed atop the card alongside the wickedly talented Oriana Charles as Arielle Walters, and rounding out with Dani Thompson in the role of Jasmine Sands. Scaled with crafty cinematography and an array of special effects, this budget spectacle is a ripping good time.

Unfastening, this feature embarks with a young, beautiful courtesan arriving at an unfamiliar home in the middle of the night. With obvious intentions, she is shadily instructed to enter via inscribed currency pasted to the door. Abiding, she soon discovers her client, Phil Tanterton (Martin W. Payne), a senior-partner at Killmore & Percival law firm, bound to a chair and gagged. Mistakenly reading the scene as just another kinky affair, she removes his gag, only to learn a serial killer in a panda mask is behind her, ushering the unfortunate end for the pair by way of the bantering “Stripper Ripper”.

Softly rebooting after the opening sequence, an uncomfortable interview for a new legal assistant at Killmore & Percival is being conducted by the proclaimed face of the corporation, Damien Hook (James Hamer-Morton). Although the respondent, Arielle, an ex-stripper seeking a fresh start comes with few credentials and a sparse CV, she still lands the job in large part due to objectification, as interviewer Hook oogles and makes undesirable comments, including dubbing her “Legs,” a moniker that clearly irks the new personnel.

As her first day at the law firm commences, Arielle is predictably struggling to find her footing as the new paralegal, nervously doing her best to tame the learning curve. Tasked with bringing coffee to the established hard partying, self-absorbed misogynistic playboys of level six, she may as well have been a wounded stray stumbling into a den of hungry wolves. Without blinking, the entrenched toxicity within the culture quickly becomes visible, and the dismal realization that her interview was par for the course at the firm takes hold. However, she soon crosses paths with Daniel (Will Jones), an equally nervous jobber that had just been promoted to a new job on level six, a seemingly decent guy yet to be corrupted and polar opposite of other male colleagues, an ally.

Forwarding, the demise of senior partner Phil Tanterton is relayed to Hook, who assumes he is a shoe-in to fill the vacancy. Upon learning that the promotion will be performance based, a visibly upset Hook dismisses the revelation when prodded by his fellow chums, instead burying it deep and insists that the work hard, party harder frat throw one of their infamous after hours office parties, a rager with the best booze, the finest drugs, and the hottest women money can buy.

“Boys, boys, the girls are here!,” but unfortunately for the after hours office party that is now taking place, these girls aren’t the only ones punching the clock. A murderous maniac in a panda head equipped with a sharp blade and sharper tongue, wanders in with a barrel full of fish in his sights. And this panda means business.

For Arielle, who stayed late to finish her work, the curtain’s finally closing on her first day at the office. Aware of the private party taking place on level six due to the booming noise of excitement, she heads up to clue in Hook that she has finally completed her assignments and ready to leave. Upon arrival, she becomes disillusioned to find nice guy Daniel in attendance, who was only there at the insistence of Hook. Before she can make her exit, she is recognized by the hired entertainment, discovering her former cohorts on the job. With her past now in scope, an already upset Arielle storms out, only to find the messy handiwork of The Stripper Ripper, who is on the prowl. Indeed, pandemonium.

Sufficiently, PandaMonium is a slasher-parody feature that has all the fixins. With a card-carrying psychopath in a comical panda mask who always knows what to say after each kill (think a traditional slasher configuration meets Freddy Krueger), a run-riot environment that makes for fertile hunting ground, beautiful women, and all the infamous british humor and cheese you can handle, PandaMonium embodies and hilariously rags the slasher genre with the most deliberate of approaches. As such, it is brimmed with over the top kills, witty wordplay, and mostly obnoxious characters who leave you with a dopamine release when they meet their eventual demise.

Existing within a backdrop of a corporate office infested with toxic misogyny, PandaMonium ironically dismantles the system with a menace cut from the same cloth, one that has a professed kink for strippers. Given the relevance of the #MeToo movement, the decision to situate empowered, strong women in the midst of chaos and patriarchy proves correct, with the relentless Stripper Ripper seemingly serving as a haunting allegory for the perpetual struggle.

With that said, the film doesn’t take itself too seriously, allowing for you to decompress and enjoy the humorous quips and gory antics to come. A frugal glamor, it lays bare and bulks where possible. Thereon, the cinematography and special effects sustain.

Foremost, the cinematography is crafty. Although it visually lacks the crispness and stylization of a more extravagant production, switchblade cinematographer MJ Dixon credibly manifests a vintage slasher context amongst a modern scale by relying on a fundamentals approach to get over. With the exploitation of angles, medium shots and an occasional close-up, Dixon uses every tool at his disposal, even employing a two-shot framing technique multiple times for apprehension. As well, the application of various palettes, tints and luminous intensities enhance the overall visual language with proper visibility, giving the ambiance via a more exclusive feel.

Moreover, the special effects are competently realized. With over the top kills, you’d expect over the top special effects, but that isn’t the case at all. Instead, the special effects are grounded, practical and numerous. The blood and gore are realistic enough and measured, the knife play seamless. What’s more, unlike other indie barebones that shy away from excessive effects, PandaMonium leans into them, ensuring they are integral to every kill, and wields them as confidently as the ripper wields his blade.

To boot, the score is nervy excellence and perfectly synchronized, playing in a very Halloween 3: Season of the Witch-esque manner. Also, all of the cast deserves all the kudos for their effort, intentionally toning down performance to capture the essence of their satirized caricatures.

All together, PandaMonium winks and nods at the relished slasher era of the eighties with a cheap satirical imitation. With cinematography and special effects primarily conducting, this original exertion from Mycho Entertainment, like our panda-headed friend, mixes business with pleasure as it gushes absurdity with comedic cliches, exaggerations, humorous situations and mindless joy killing. This budget pour comes through rough but imparts with desired smoothness, producing a swig that plays well across the board.

Recommended. My Score: 7/10.