Apocalypse Clown (review) – bold, bonkers and utterly brilliant

Apocalypse Clown is showing in UK cinemas from September 1st.

Over recent years, the humble clown has found itself relegated to the medium of horror in film. But now, director George Kane is about to bring the clown back into comedy while continuing to embrace a darker edge in the genuinely unique Apocalypse Clown. It’s rare in modern cinema that something this special comes along as Kane rips into several genres, from the disaster flick to the road trip and Coulrophobia-inspired horror, this rib-tickling Irish gem has the words ‘cult classic’ written all over it.

Bobo (David Earl) is a clown on the verge of losing his smile; he is bored of the uninterested look on the face of every kid he attempts to entertain. After all, how can a middle-aged clown compete with a PS4 and TikTok? Bobo’s life appears to be going nowhere, fast, including his sex life, where a recent one-night stand with a struggling journalist, Jennifer (Amy De Bhrún), didn’t lead to the romance Bobo hoped for, mainly because Jennifer was off her tits at the time.

Meanwhile, the blue-haired French traditionalist Pepe (Fionn Foley) struggles to find his clowning voice and has enrolled in the legendary Jean DuCocque school for aspiring clowns. But his first performance in front of DuCocque doesn’t go according to plan as the great man collapses of heart failure just minutes into his act! At the same time, the eccentric and crazy street clown Funzo (Natalie Palamides) has an ongoing beef with the local human statues outside her tent, leading to her biting the ear off the Statue of Liberty and a statue versus clown manhunt.

Never before has there been such a ragtag band of clowns, and they are all about to be thrown together when the world seemingly nears its end. But as our clowns and rookie reporter attempt to navigate a world devastated by a gigantic solar flare, the evil Great Alphonso (Ivan Kaye) takes his opportunity for a grand comeback after previously killing a boy band member of Bromanz in a gunge tank incident on kid’s TV.

Every second of George Kane’s bonkers road trip through the Irish countryside is packed with fresh ideas, delightful performances and brilliantly timed comedy. There are echoes of National Lampoon’s Vacation, including a dead clown strapped to the roof of a car, plus the witty and sharp satire of films like What We Do in the Shadows. But Apocalypse Clown is also utterly unique as its absurdist farce bounces from one madcap set piece to the next.

At the heart of Apocalypse Clown’s success are the fantastic performances of Earl, Bhrún, Foley and Kaye. But the gold star has to go to Natalie Palamides as the psychotic yet strangely sweet Funzo. Palamides steals every scene and elevates every word, gag and crazy encounter into comedy gold.

Apocalypse Clown is bold, bonkers and utterly brilliant. Its darkly delicious comedy, slapstick beauty, and relentless charm are engaging, entertaining and utterly nuts as our troupe of failed entertainers discover themselves, each other and their real names on a road trip to a crazy Children of the Corn-inspired big top finale. Apocalypse Clown is unlike anything else you will see this year and deserves the label of cult classic that is undoubtedly coming its way.