The Overlook Film Festival 2019, Ranked & Reviewed

Last year’s sudden appearance of the Overlook Film Festival on the local calendar was an unholy, unexpected blessing. There are only a few substantial film fests that are staged in New Orleans every year, so for an international horror film festival with world premieres of Big Deal genre movies to land in our city was a major boon, almost too good to be true. I attended the festival as a volunteer, catching three artsy-fartsy creature features (all directed by women) and a couple live podcast recordings over the course of a few days, hungry (bloodthirsty?) for more. This year, Swampflix attended Overlook with legitimate press credentials, meaning we were able to cover even more films playing at the fest, which was majorly exciting.

There were 23 features and 18 shorts from 11 different countries screening at the festival over the course of a single weekend in early June. It was overwhelming. Self-described as “a summer camp for genre fans,” The Overlook was centrally located, corralling all of its movie screenings to just a few venues: Le Petit Theatre for its more prestigious premieres, the UNO Performing Arts Center for a repertory screening of The Faculty (with Robert Rodriguez in attendance), and what is now the ghost of the old Canal Place theater for the bulk of its heavy-lifting. It was wonderful to be able to take fuller advantage of this super cool genre film extravaganza, especially considering that Canal Place’s closure might persuade them to leave us for another city, which would be a total shame.

Listed below are all eleven features we were able to catch at The Overlook Film Festival that weekend ranked in the order that we most appreciated them, each with a blurb and a link to a corresponding review. For a more detailed recap of our festival experience beyond these reviews, check out our podcast discussion of the fest.

1. In Fabric “Wholly committed to over-the-top excess in every frame & decision, whether it’s indulging in an artsy collage of vintage fashion catalog advertisements or deploying a killer dress to dispose of a goofball victim entirely unaware of the occultist backstory of their sartorial selections. It’s both funny and chilling, beautiful and ludicrous. It’s perfect, as long as you can tune into its left-of-the-dial demonic frequency.”

2. One Cut of the Dead “So much of One Cut of the Dead is on shaky logical ground because of the limitation of its filmmaking resources, but horror fans who are inclined to watch low-budget, high-concept zombie movies in the first place should be used to making those allowances. What’s brilliant about the film is how it transforms those awkward low-budget details into something brilliantly executed & purposeful. Revealing how it performs that miracle in a review would be a crime that I’m not willing to commit. You just have to afford it your attention & trust long enough to see it for yourself.”

3. Ma “It’s at first baffling to learn that Tate Taylor, the doofus responsible for The Help, also directed this deliciously over the-top schlock, but it gradually becomes obvious that the goon simply loves to watch Octavia Spencer devour the scenery and it just took him a while to find the proper context for that indulgence – the psychobiddy.”

4. Paradise Hills “This is far from the first fairy tale to allure characters in with a bounty of sensual pleasures only for the fruits therein to be revealed as rotten, cursed, or poisonous. In that tradition, Paradise Hills presents a fairytale Eden that’s deadly dangerous precisely because the pleasures it offers on the surface are so tempting. It would be far too easy to lose yourself in this pleasure palace – both literally and figuratively.”

5. Come to Daddy “As Elijah Wood’s cowardly protagonist sinks further in over his head in sinewy ultraviolence, the picture begins to play like a farcical mutation of a Jeremy Saulnier picture – not unlike Wood’s recent turn in I Don’t Feel at Home in this World Anymore, just creepier.”

6. Greener Grass “Whether it’s grossing you out with the moist, passionless sex of its suburbanite goons or it’s breaking every known rule of logical storytelling to drive you into total delirium at a golf cart’s pace, the film is uniquely horrific & punishing – and hilarious. You should know approximately thirty seconds into its runtime whether or not its peculiarly antagonistic humor is something you’ll vibe with; there’s just very little that can prepare you for what it’s like to experience that aggressive irreverence for 100 consecutive minutes.”

7. Knives & Skin “Filters the Lynch Lite teen melodrama of Riverdale through a hallucinatory overdose of cough medicine, so that it sticks with you only as a half-remembered dream. You can recall laughing, but you’re not entirely sure why, or whether that was even its desired effect.”

8. The Vast of Night “The film chooses a very difficult path in distinguishing itself, relying more on the strength of its performances & written dialogue than its sci-fi chills & scares. It’s more akin to intimate walk & talk dramas like Dogfight, Before Sunrise, or My Dinner with Andre than the sci-fi horror tones you’d usually expect from an alien invasion story template.”

9. Gwen Gwen looks, sounds, and feels like Elevated Horror™. Its monochrome portrait of a family in crisis is illustrated mostly by the grey hues of soot & snow. There’s very little dialogue & no musical score to speak of, somewhat mistaking total quiet for atmospheric dread. Those drab, miserable textures lull the audience into a foggy calm, only to be shocked out of our seats by loud, violet stabs of lightning, medical fits, and nightmares of self-mutilation. This movie has genuine jump scares! But it’s not horror.”

10. Satanic Panic “It may not be the pinnacle of joke writing or emotional drama, but it at least knows how to deliver the goods when it comes to over-the-top ultraviolence & softcore sexual mania.”

11. Porno “When most comedies fail to make you laugh, they leave you very few opportunities to be entertained otherwise. To its credit, Porno entertains throughout by relying on the most tried & true attractions in the entertainment business: sex & violence. Even if you’re impervious to its proper Jokes, there’s still plenty of blood-soaked juvenilia to keep you occupied.”

-Brandon Ledet

Come to Daddy (2019)

Fresh out of a delightful mid-day screening of One Cut of the Dead at this year’s Overlook Film Festival, I took a leisurely stroll down a hellishly hot Decatur Street to catch the next film on the docket, only to find myself unintentionally trailing that film’s star. Looking positively adorable in some crisp denim overalls and a patterned button-up, Elijah Wood was playing tourist along the riverside tchotchke shops on his way to the Come to Daddy Q&A. He was travelling in my exact path to Sidney’s Liquor Store, where I was headed to pick up some cold beverages to enjoy in Jackson Square before the screening. I felt like a total creep on that walk, entirely too aware of this oblivious stranger strolling just a block ahead of me, someone who probably spends way too much of their life wondering who’s looking at them and why. Luckily, the tables were eventually turned on me, as the film Elijah Wood was in town to promote was far creepier & more disturbing than any awkward eye contact I might have conveyed on that walk down Decatur. Despite his adorable exterior & chipper demeanor, Wood has a deeply fucked-up sense of humor and appreciation of the macabre – which is a major factor in why he’s so lovable.

Elijah Wood stars in Come to Daddy as a cowardly hipster & a shameless liar who responds to a reconciliation letter from a deadbeat dad who abandoned his family decades ago. The horrifically mismatched pair, drunken brute father & effetely timid son, enjoy an intimate family reunion in an isolated home on the California coast. It does not go well. The decrepit bully of a father mocks every physical & verbal communication his big-city hipster offspring dares to offer, bringing their tension to a point where its only possible outcome is physical violence. Then, just as the tragically mismatched men are about to come to blows, the film shifts the intimate dynamic of what we’re watching into a much more sprawling, chaotic kind of mayhem. It would be criminal to spoil exactly how the film unfolds after that first act, but I can at least say that its twisted humor & unrelenting brutality only become more severe as it veers into flashes of torture porn, slapstick gore, deep sexual discomfort, and all other kinds of fucked up Freudian delights. As Elijah Wood’s cowardly protagonist sinks further in over his head in sinewy ultraviolence, the picture begins to play like a farcical mutation of a Jeremy Saulnier picture – not unlike Wood’s recent turn in I Don’t Feel at Home in this World Anymore, just creepier.

As amusingly weaselly as Elijah Wood is in the central role, the real star of the picture might be screenwriter Toby Harvard, who also penned The Greasy Strangler. Harvard brings the same aggressive, repetitive anti-humor and nightmarishly greasy Daddy Issues that fueled The Greasy Strangler to this more reality-bound picture. It’s not enough that the hipster’s drunkard father calls his son a “rat fucker.” He has to elaborate that his son “stuffs rats up his cunt” and that when he dies they’ll find “rat skeletons in his pelvic area, where his cunt used to be.” After the director of The Greasy Strangler floundered without Harvard in his own follow-up, An Evening with Beverly Luff Linn, I’m starting to think Harvard is the name Greaseheads should be keeping their eye on. Elijah Wood has been making a career out of funding & promoting grotesque art projects from folks like Harvard in recent years – producing titles like The Greasy Strangler, Mandy, The Boy, and A Girl Walks Home Alone at Night. As playfully disturbing as his tastes continually prove themselves to be, he mostly just seems like a wholesome horror nerd who loves to make fucked-up moves with his friends. His presence in horror nerd spaces like Overlook Film Fest are entirely appropriate & expected; we just have to make sure to not ruin his good time by awkwardly trailing him down the street. We need him out there to raise funding for fucked-up, greasy oddities like Come to Daddy, so we better not scare him off.

-Brandon Ledet