![Adrienne Barbeau Makes ‘Oddities’ Worth Checking Out [Frightfest Review]](https://www.dreadcentral.com/wp-content/uploads/2026/08/Oddities-still-3.jpeg "Adrienne Barbeau Makes ‘Oddities’ Worth Checking Out [Frightfest Review]")
Oddities, the latest from filmmaker Tyler Savage, does several things well, but the best thing about it (no surprise to genre fans) is Adrienne Barbeau. The John Carpenter and George A. Romero alum was one of the most vibrant stars of her era (Maude hive, this is your moment), and with Savage’s direction, she’s given one of her meatiest, most unhinged roles in years. It’s not quite psycho-biddy (luckily), but Barbeau oozes menace so effortlessly that it reminds you why she’s one of the all-time greats.
Savage’s assemblage of antiquities and oddities has plenty more, of course, and before Barbeau goes full villain, we’re introduced to Rose and Makenna (Lilimar and Lovie Simone, respectively), two down-and-out best friends getting high and ambling through life. They’re broadly textured though reasonably endearing, and both performers find that kind of elevated naturalism that works for horror without sacrificing the roots of humanity at their core.
They’re not in an especially great space to start, doubly so when Rose accidentally kills a guy preparing to assault Makenna. Not just any guy, unfortunately, but a tatted-up, trap-house douche whose friends aren’t too keen on manslaughter (or law enforcement). Rose and Makenna book it in the dead guy’s stolen car, all but abandoning their lives in town while their plugs arm themselves to track them down.
That alone would make for reasonably good genre fare, a kind of Americana equivalent to something like Tribeca premiere Dante. Savage culls more from Fede Álvarez and Marcus Dunstan, however, in a saga of bad people crashing headlong into much, much worse people. That would be Barbeau’s Betty, the owner of a rural antique store. Ostensibly butterscotch sweet, she first offers to help shield Rose and Makenna from their pursuers before turning the tables with that classic spiked drink switcheroo. They awaken locked in the store’s basement and Barbeau teases horrors far beyond their comprehension.
It’s a bit of a hodgepodge (Gunner Willis does good work, though his Francis is the virginal slasher equivalent of a 2026 Leatherface), and Savage is a bit too keen to lean into the frustrating rhythm of cat-and-mouse antics – the women escape, are captured, escape again, onward and onward. Though I won’t dare spoil it, Savage’s The Cabin in the Woods aspirations are really exceptional, and it’s clear in retrospect that all the goopy deaths and close calls are just a prelude to the wild, behemoth terror he unspools in the third act.
It’s dynamite genre work, a monstrous merging of trauma, religious psychosis, and big, bad creatures. At that point, Oddities really comes into its own, distinguishing itself from a slate of similarly modest horror thrillers hitting fests and VOD services. Savage has been in the game for a beat, and Oddities is undoubtedly his most accomplished work to date. Everyone does an exceptional job with a crackling script that, while familiar, manages several applause-worthy surprises.
While it might lack the visual or auditory polish of more renowned genre fare, Oddities lives up to its name. It’s an idiosyncratic horror hybrid augmented by strong performances, fun gore, and a truly behemoth-sized finale. Think of it like a tapestry you might find in an antique store. Turn it around, and the threads might look like a bit of a mess, but from the front, it all comes together. Adrienne Barbeau might draw you in, but Oddities has plenty of other strengths to keep you engaged.
Summary
Adrienne Barbeau remains an all-time great in the bloody, idiosyncratic Oddities.
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