OBEX Review: A Retro-Tech Fairy Tale With a Horror Edge

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By 2026, screens are everywhere, and we’ve become increasingly reliant on the digital world – perhaps at the expense of real-life connections. The film OBEX explores this idea, blending horror and fantasy into a thought-provoking commentary on modern life and a nostalgic tribute to video games. Directed by and starring Albert Birney, OBEX feels like a unique mix of classic films like Poltergeist, Eraserhead, The Cabinet of Dr. Caligari, and Napoleon Dynamite, combined with the retro aesthetic of the Atari 2600 and early Legend of Zelda games. It’s visually inventive, using a lot of mixed-media animation and effects, and offers a charming, if unusual, look back at older technology and the simple pleasures of gaming. And yes, it is a bit strange!

In 1987, 36-year-old Conor Marsh lives a secluded life in Baltimore. He earns money by digitally recreating old family photos and spends his evenings watching VHS tapes and singing karaoke with his dog, Sandy. His only connection to the outside world is his neighbor, Mary, who brings his groceries. He rarely leaves home, content with his quiet, solitary routine. That changes when he submits a video to a new game called OBEX, hoping to have his image included. Though the game itself is a disappointment, strange events begin to occur, and Sandy mysteriously vanishes – seemingly pulled into the game. Driven to rescue his beloved dog, Conor is forced to confront his reclusive habits and enter the world of OBEX, where he faces incredible enemies and unsettling truths about his past.

Obex Is Bizarre, Clumsy, and Disquieting – Yet Also Weirdly Comforting And Endearing

I’ve been so excited about what’s been happening in movies lately, especially since things started getting back to normal after the pandemic. Horror, in particular, has been amazing – filmmakers are really taking risks and doing things we haven’t seen before. We’ve had some incredibly inventive films, like one that showed a haunted house from a dog’s perspective, and another that was completely funded by fans and mixed classic, creepy vibes with unexpected religious themes. Even smaller, more heartwarming movies like Sacramento and The Ballad of Wallis Island brought a really refreshing, relatable quality back to the screen. 2025 felt like a turning point, with filmmakers really fighting to get people back into theaters instead of just watching everything at home. And as we all try to reconnect and share experiences like going to the movies or festivals, OBEX just feels really important – both in what it’s about and how it’s made.

The film OBEX first gained attention at the 2025 Sundance Film Festival, surprising viewers with its unique storytelling, strange and creative visuals, and a world that felt both odd and strangely recognizable. Now, as it’s about to be released in theaters, the film’s ideas about technology, loneliness, and longing for the past feel even more relevant. OBEX stands out for its unusual combination of digital and practical effects, deliberately avoiding realism, and presented entirely in black and white. It’s a daring, vibrant, and truly bold film.

I wasn’t surprised at all by the unique style of this director, Birney. Their past work, whether it’s live-action – think Terry Gilliam mixed with Wes Anderson – or animation like the Tux and Fanny series, always creates these wonderfully strange, almost dreamlike worlds. They’re really good at building atmosphere and making you feel like there’s more to the story than you’re seeing. Honestly, getting lost in the world of OBEX was a big part of the experience, even if some of the coolest ideas felt a little unfinished or unexplored.

OBEX Has A Lot To Say About Screens – Both Good And Bad

OBEX explores how humans interact with screens – computers, TVs, and other displays – a particularly important topic given how many people struggle with screen and phone addiction. Considering the growing influence of AI and algorithms in our lives, and their impact on our mental health, social abilities, and feelings of loneliness, the film’s themes feel especially timely. However, the filmmakers don’t simply condemn technology. Instead, they take a surprisingly balanced and open-minded approach.

Although the book OBEX points out the downsides of relying too much on technology – like feeling isolated or becoming addicted – it doesn’t outright criticize screens or the people who use them for comfort. The main character, Conor, is a shy man in his thirties who mostly stays home, working on his computer and relaxing with TV and his Mac. He relies on his kind neighbor, Mary, to deliver his groceries, and he finds it hard to connect with people. He even prefers watching videos of a fireplace to having a real one. His only close companion is his dog, Sandy, who is incredibly cute. Overall, Conor’s life is ordinary, somewhat boring, and a little uneventful.

Most movies would likely portray Conor as an outcast or someone awkward and unlikeable. However, thanks to the director and actor’s skill, he feels surprisingly sensitive and genuinely lonely. While he struggles with social anxiety and seems afraid to leave his home, along with hints of a difficult past and internal struggles, he’s not presented negatively. His interactions with Sandy are charming, and even his awkward conversations with Mary, held through a closed door, feel sincere and sweet. The film’s gentle tone and hopeful ending work because, despite his flaws, Conor is fundamentally a good person who deserves a chance to overcome his inner and digital challenges.

OBEX’s Creative Vision Is Hampered By Its Snail’s Pace Plot And Vacant First Forty Minutes

While the film has a lot going for it, OBEX‘s unusual style and deliberately strange atmosphere create some problems. These issues, including a slow pace, could make it hard for viewers unfamiliar with experimental films to get into. A significant portion of the roughly ninety-minute runtime is spent showing Conor going about his ordinary life, which can feel slow despite the film’s generally creepy and visually interesting mood. However, OBEX does have a unique charm. Its grainy visuals and constant background noises – like humming appliances and cicadas – add a surprising depth and warmth to an otherwise bleak world.

Conor’s life is bleak and monotonous, a stark contrast to the vibrant and fantastical world he briefly enters. This game world is full of lush landscapes, exciting creatures, and over-the-top details – everything his real life lacks. It’s clear which setting is more visually engaging, and which one offers a better opportunity for Conor, a shy and anxious character, to grow and change. Unfortunately, this exciting world is only a small part of the story. After nearly an hour of slow setup, followed by twenty minutes of building tension, Conor – and the viewers – only get about thirty minutes to experience it.

The film starts slowly, and it’s a bit disappointing to wait almost an hour before the story really gets going and a beautiful, hopeful feeling emerges—only for it all to end quickly. Like the cicada, which appears throughout the movie as a symbol of Conor’s isolation and eventual growth, the film takes a long time to reveal its full potential. However, the slow pace isn’t a major flaw. In fact, the film’s unique, quirky style—with its eerie black and white visuals, immersive sound, and atmospheric music—makes it ideal for watching in a theater or quiet, dark space. It’s both unsettling and strangely comforting, especially late at night. While viewers accustomed to fast-paced entertainment might find it slow, those who are open to it will find it incredibly relaxing.

OBEX Defies Convention With Its Offbeat Story And Eccentric Practical and Digital Effects

The film starts a bit slowly and doesn’t fully explore its most intriguing ideas, but it truly shines with its mood, visual style, and distinctive look. It shares a lot with Hundreds of Beavers. Both are independent films that quickly gained a devoted following, created by a small team with a resourceful, hands-on approach to effects – blending practical and digital techniques for a charmingly messy and engaging experience. While Hundreds of Beavers used this approach for hilarious results, OBEX utilizes its low-tech feel and glitchy effects to create horror – and occasionally, moments of surprising warmth.

Similar to the charmingly low-budget aesthetic of Hundreds of Beavers, OBEX doesn’t try to conceal its homemade quality. In fact, it embraces it, resulting in a film that’s both strangely unsettling and undeniably sweet. It’s hard to imagine seeing a performance as nuanced and heartfelt as Frank Mosley’s while he’s wearing a fake TV head! The film is packed with bizarre imagery, from nude actors transforming into plastic skeletons to rough computer-generated characters, talking puppets, pixelated fairies, and wonderfully strange costumes. It takes some time to fully unfold, but OBEX is genuinely fun and delightfully weird. While the ending feels a bit rushed, it’s surprisingly moving and tender. Despite being a little rough and unconventional, OBEX is a thoroughly enjoyable and surprisingly heartfelt film.

Today, everyone seems focused on avoiding or making fun of things they consider embarrassing. That’s why the film OBEX feels so bold and different. Despite being a low-budget, independent movie with a small cast and a deliberately slow pace, it’s surprisingly creative and willing to take chances, potentially standing out among bigger, more polished films. It skillfully combines the unsettling feeling of old technology with the happy, playful, and comforting experience of revisiting a favorite video game. For the best experience, watch it in a dark, quiet room – just like playing Space Invaders.

OBEX is now in theaters.

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2026-01-10 02:10