Austin Film Festival 2026
Oddities is a wild ride, to say the least. Writer and director Tyler Savage takes a relatively simple premise and turns it into a bizarre, bloody horror film that becomes increasingly outrageous as the story unfolds. Adrienne Barbeau is outstanding, the younger leads are excellent, and while the plot stretches credibility well beyond its limits, there is something oddly engaging about the whole adventure. I found myself rolling my eyes more than once, particularly toward the end, but I never lost interest in what was happening on screen.
Lilimar and Lovie Simone star as Rose and Makenna, two troubled young women whose already questionable choices land them in serious trouble when they accidentally kill their drug dealer. Forced to flee, they end up at a roadside antique shop run by Betty (Barbeau), an older woman who initially appears welcoming enough. Unfortunately for the girls, their problems are only beginning. The shop and its peculiar owner harbor secrets far more dangerous than the people pursuing them, and what begins as a crime thriller takes a decidedly sinister turn.
Lilimar is excellent as Rose, bringing a believable mixture of toughness and vulnerability to a character who finds herself in one impossible situation after another. Simone is equally effective as Makenna, and the two actresses establish a convincing friendship despite the increasingly improbable circumstances surrounding them. Their performances give the story some much-needed grounding, particularly when the narrative begins to veer into territory that defies reasonable explanation.
Then there is Adrienne Barbeau. At 81, she looks incredible and demonstrates that she can still command the screen with the best of them. Her arrival changes the entire tone of the film, almost to the point that Oddities feels like two different movies. Barbeau clearly understands the character and the material, delivering a performance that is both unsettling and entertaining. She is easily one of the film’s strongest assets, and her presence takes the story in directions that are difficult to anticipate.
Savage and cinematographer Antonio Cisneros make excellent use of their locations. The filming is tight, with carefully chosen camera angles, effective lighting, and a clever use of confined spaces that create genuine tension. The antique shop proves an ideal setting, its cluttered rooms and shadowy corners adding to the uneasiness. There are moments when the suspense works remarkably well, and Savage demonstrates a good eye for building tension without relying entirely on gore or sudden shocks. The technical elements are among the film’s strengths, particularly when the action moves into tighter spaces.
Unfortunately, the story doesn’t always demonstrate the same restraint. As the film progresses, the twists become more outrageous, and plausibility seems to take a back seat to sheer spectacle. The final act is especially excessive, with the last thirty seconds taking things to an entirely different level. I won’t spoil the ending, but it left me shaking my head at just how far Savage was willing to go. There is a point when bizarre becomes ridiculous, and Oddities crosses that line more than once.
I am not typically a fan of gory horror, and there are certainly moments here that test my tolerance. Still, I managed to stomach the more gruesome sequences, perhaps because the story is so peculiar that I remained curious about what could possibly happen next. The film’s absurdity, while sometimes a weakness, is also part of what makes it entertaining. I didn’t find myself laughing at the craziness so much as rolling my eyes at it, but I kept watching.
Oddities is not a film that demands serious scrutiny of its plot. Doing so would likely unravel the whole thing. What it does offer is a talented cast, some genuinely tense moments, creative cinematography, and a willingness to take chances. Barbeau is terrific, Lilimar and Simone hold their own, and Savage makes good use of the resources and spaces available to him. It is wildly implausible, occasionally frustrating, and undeniably engaging.