The Second Act

The Second Act is probably his strongest film yet, and certainly the first that could stir up any controversy. Not only is the script cleverly written, but the cinematography, including four epically long tracking shots, and the editing, which times all the jokes perfectly, are well-mastered.

It can feel a touch contrived, even on-the-nose, but there is more than enough quiet confidence and seasoned quality in performances and filmmaking to stick the landing.

We take frequent and foolish pleasure watching the four charismatic leads brush up against one another while bristling against their assigned roles, with the film giving performer time to shine.

The Second Act is little more than an amusing trifle, as meta as that trifle may be.

From a talented cast in Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard to an initial willingness to be ruthless in tearing apart the messy art of moviemaking, it could have been something truly great. nstead, just when you think this movie about making movies is starting to get somewhere interesting, it reveals itself to be only a sporadically funny satire with a surprising lack of teeth.

Lacking the whip-smarts of previous works, The Second Act only winds up feeling as self-important—and as insecure—as the very characters it caricatures.

Dupieux’s strategy seems to be flipping or repeating certain punchlines for fresh effect, which is fine for a while, until you realize that neither The Second Act nor those second-degree readings have much to say.