Marketic It's no definitive masterpiece but it's damn close.

Curapedi I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

Murphy Howard I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

Aubrey Hackett While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

Michael After viewing this film a second time, I picked up on the subtle cues I missed on the first viewing--a subtle swipe at Russian political reformation and romance, the bashing of the New Left, the Emancipation of Serfs through "Dead Souls" and the film-maker who is absorbed/consumed into/by their work--"Divine Horsemen: The Living Gods of Haiti".As one must with any artisan film, subtle devices is key to understanding the missive and the import. Just as a viewing of Frankenstein's Monster for its gore and horror is skimming the surface, to view this film simply for the porn and gore is simplifying it to a banal level that misses the cerebral context.LaBruce mocks all sides of the socio-political debate revealing that participants in the capitalist consumption, the advocates of gay rights, and the participants in gay consumerism are equally 'pawns' -- serfs, if not zombies -- held captive by Causes greater than self. Even those who deem themselves part of the media and creative media are caught up in their own "hype" unable to divorce themselves from participating in the events they are called to record, just as Maya Deren was caught up in the voodoo experience while documenting the "Divine Horsemen".

yosempai The brilliance of some films is visible on multiple levels. Films such as Network (1976) and American Beauty (1999) are both satirical, yet they can be simultaneously viewed as good cinema. Bruce LaBruce's Otto; or, Up with Dead People (2008) is not such a film. It can be read as a satire, Bruce LaBruce's whorish attempt at an instant cult classic, or simply as an entirely original work of art. Actually, it seems more like a combination of the three. Otto satirizes the zombie crowd's lust for films that only have merit for their shock value. In case you aren't familiar with him, Bruce LaBruce is famous for (infamous for?) his no-budget B films. He is one of few directors to have directed a porno and had a film premier at Sundance. Without seeing the film, Otto often comes across at an extremely misguided attempt to corner a niche market—gay zombie horror porn. With that said, the film is neither a horror film nor a porno. There is relatively little gore, and much less sex than the right wing IMDb trolls would have you believe. Otto may be a satire; Otto may be an attempt into instant cult status; but in any case, Otto is art.Otto; or, Up with Dead People was shown at the Sundance film festival. However, simply being accepted into Sundance does not mean a film is good. Otto was also shown at the wonderful MoMA in NYC. Once again, this does not mean that it is a perfect film, but it should be noted in what way the film is being perceived: as a work of art. Most people will dismiss Otto as a pointless B movie, but in reality it is not pointless. Otto is one of the most original works of feature length cinema from the past decade that I have seen. And this is not simply based on the subject matter. LaBruce utilizes his distinct style and unique cinematic techniques to make Otto a truly fresh work of art.Now onto the film. Otto (Jey Crisfar) is convinced that he is a zombie who just recently was resurrected. Stumbling around town, he comes across a flyer for auditions for a zombie movie, Up with Dead People. At the audition, the director of the film, Medea (Katharina Klewinghaus), is impressed with Otto's commitment to the character. Otto of course truly believes that he is a zombie, while Medea is sure that Otto is just a regular guy who always seems to be exceptionally dirty. Zombies are often presented as allegorical to "the ultimate consumers who all eat the same things, congregate at the same places, act the same" (Fangoria). With Otto, LaBruce completely reverses this idea. Otto is a complete outcast. Not only is he a zombie, but Otto is gay. He experiences what is either gay-, zombie-, or gay zombie-bashing and generally not accepted by society.Another of LaBruce's interesting cinematic choices is presenting Medea's lesbian lover, Hella (Susanne Sachße) as a silent film character. Hella is always presented in grainy black and white and her dialogue is even replaced with intertitles. Medea and other characters are still presented in full color even while the black and white Hella is sitting right next to them. As a film studies major, I am forced to attempt to find the symbolism/hidden meaning behind presenting Hella as such. However, I have come to the conclusion that LaBruce was simply attempting to present Hella as a specific type of character from the silent film era and he does so with clever blatancy.Otto is not what most people would consider as entertaining. Otto is not what most people would consider as art. If you watch the film thinking that you will hate it, I can guarantee with complete certainty that you will hate it. Watch this film with an open mind, and don't take it too seriously or literally. Network and American Beauty are praised because they work on two levels. They exaggerate the existing conventions of Hollywood cinema in order to criticize whereas Otto cinematically breaks free of the zombie genre in its criticism. As Dr. Marco Abel would say, whether or not you like the film is irrelevant. Otto is a entirely original piece of art.

jonb-29 This movie is a masterpiece on several levels. The acting was excellent, cinematography compelling, script very good and the score fantastic. Otto is a multi-faceted gem and each bit shines. The black&white silent film era girlfriend is so delicious you could eat her. (That's such an original and well executed idea.) There is a lot of gayness, but that adds to the overall effect rather than detracting from it. Dr K (spouse) loved this movie even with the full-on intestinal sex bits. The flash-backs to Otto's previous life are so bright and happy it really accents Otto's current "un-life". The female director was slightly overdone but still hilarious. This has made our year movie-wise, and we'll be looking for more Bruce Labruce...

vodkashots dear Elly-belly; your comment really irritated me. i feel sorry for you if those are the real thoughts of you about the movie. first of all, Medea was not the only character that was political and "goth", in fact the whole zombie concept is goth so it suits the movie. the political elements were very clearly explained, its your problem if you fell asleep during the film. Otto is a character that not only should be watched, he also needs to be understood. there you need the ability to empathy, to see the dilemma; otherwise all of your precious time is wasted. i suppose your not sexually open minded either. thinking that all those people in the cinema could watch the porn scenes with a smile on there face is SICK. "..no joy expression on there face.." what should the man do? masturbate?? pf..finally, its a perfect movie for those who enjoy something extraordinary but not simple.