Self-described as “a summer camp for genre fans,” The Overlook Film Festival has quickly become the best of New Orleans’s local film fests . . . as long as you’re a total sicko. I consistently catch a wide selection of the year’s most stylish, violent, memorable horrors & thrillers in the festival’s lineup, many of which don’t otherwise reach local theaters before they get siphoned off to the cultural void of streaming platforms. It’s a surprisingly sociable experience too, considering that its main attraction is quietly watching movies in the dark. In recent years, all Overlook selections have been corralled to the two locations of The Prytania Theatres, which allows attendees to form a weekend-long bond with fellow movie nerds they continually run into while lining up for the next fucked-up delight. Everyone’s watching too much, sleeping too little, and loving every horrific minute. It really does capture the summer camp slumber party feeling of staying up all night watching scary movies with your friends after the adults fell asleep and can no longer police what’s playing on the TV.
While this year’s Overlook concluded over a week ago for out-of-town attendees, locals have been spoiled with a daily schedule of “lagniappe” screenings that kept the spooky-good vibes going twice as long as the festival proper. It was a decadent indulgence, especially on the afternoon I was able to sneak away from work early to catch the original Invasion of the Body Snatchers screening uptown on 35mm, exhausted & half awake, like Don Draper on a liquid lunch break. That extended Overlook hangover also gave me time to reflect on what I had seen over the busier opening weekend, gathering my hazy thoughts in a week spent writing short-form reviews. Leaving the couple repertory screenings I caught of the 1950s Body Snatchers and Larry Fessenden’s 1990s hipster vampire picture Habit out of it, I’m listing below the ten new-release feature films I caught at this year’s Overlook Film Fest, ranked in the order that I appreciated them, each with a blurb and a link to a corresponding review. For a more detailed recap of the Swampflix Crew’s festival experience beyond these reviews, check out the most recent episode of The Swampflix Podcast.
A Lovecraftian horror story told entirely through local television commercial parodies, in which a small town is swallowed whole by an unholy buffet chain. For all of its high-concept buffoonery, it ends up making a fairly coherent point about how everything decent in the world is currently being devoured in some hostile corporate takeover. Shop local, protect your loved ones, take shelter in the bunker until it’s all over.
A child abduction martial arts revenger that solves all the evils of the world with the swing of a hammer, like You Were Never Really Here restaged as an action thriller. Between this & The Forbidden City, it’s already been a great year for legible fight choreography, but this one is way more relentless & brutal. This is very likely the best action movie since RRR, give or take Furiosa. It also very likely means something that every movie I’m referencing happens to be about human trafficking.
Turns quirky Movie Girlfriend behavior into a grotesque horror show, delivering the first truly scary Manic Pixie Nightmare Girl. Turns out, the archetype still a little cute even in that context.
An unofficial Uzumaki spinoff that trades in spirals for human pyramids. This is a delightful headscratcher for audiences of any age, but it’s going to blow the mind of the right teenager who’s watching their first Weird Movie in the phase when their #1 enemy is Conformity.
In which Casper “Too Many Cooks” Kelly graduates from one-off Adult Swim novelties to his first fully formed feature, to mixed results. When it sticks to its cursed Barney & Friends episode premise, it lands all of its laughs & scares. When it deviates from that format, it feels like a confession that this should’ve just been another short, since the idea can’t fully sustain itself for feature length.
Between this & Oddity, it’s clear Damian McCarthy has a unique talent for constructing an effective jump scare. That’s why it’s a little disappointing this one spends so much time dwelling in Elevated Horror atmosphere instead. There are some exceptional witchy gags in this haunted hotel story, but they’re frustratingly sparse.
Perfectly captures the alienation of loving movies but hating movie audiences. Who do you side with here? An incurious public who laughed Exorcist II off the screen for taking chances instead of delivering more of the same? Studio executives who lost money on an artistic gamble? Or the artist himself, who improbably staged a literal fever dream on someone else’s dime? Even when this documentary gets cutesy about the mass rejection of the Exorcist sequels, I could feel my blood boiling in general misanthropy.
Supernatural conversion therapy horror set in macho small-town Australia. It shares some cast & crew with Talk to Me, but it plays more like a spiritual sequel to It Follows, making up for that film’s queer oversights
It turns out to not be such a big deal that the latest Scream sequel was a morally & creatively bankrupt shit show. The new Faces of Death has a lot more to say about modern audiences’ relationship with violent entertainment media than any Scream movie has in at least 15 years. The only letdown is that all of its payoffs are intellectual; it’s not nearly upsetting enough to earn its title, at least not for a desensitized social media addict such as myself.
A Māori colonization story set in a kinda-sorta haunted house. It’s the kind of politically furious, grounded-to-reality horror you can tell only dabbles in genre tropes because it’s more difficult to get funding for an arthouse drama on the same subject.
-Brandon Ledet
Swampflix 