Movies

The Legend of Ochi’s visuals are fantastical, its script less so

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Isaiah Saxon’s film, titled The Legend of Ochi, commences with the protagonist Yuri (Helena Zengel) sharing insights about her secluded island residence. She describes its benefits as including fishing, hunting, and breathtaking sunsets, but mentions that it also has its drawbacks – specifically monstrous creatures known as Ochi, which are akin to dragons in other lands. Maxim (Willem Dafoe), Yuri’s father, guides a group of boys, including adopted son Petro (Finn Wolfhard), on hunting expeditions for these terrifying creatures. The purpose is not just to eliminate the problem, but also to impart valuable life lessons – such as how every challenge can be tackled with a gun and a strong resolve.

Following a hunt involving the Ochi species, Yuri encounters a trapped baby Ochi. She frees the injured creature and brings it back to her residence. For years, Yuri has been bound by her father’s strict regulations, but now she’s ready to break free and take charge. Her plan is to guide this adolescent Ochi back to its mountain home. The path ahead is fraught with peril, and the situation becomes even more challenging when Maxim, accompanied by Petro and other local youths, decides to retrieve his daughter.

In the movie “Hell or High Water” from 2016, there’s a powerful scene where a man is driving cattle through a creek-bed. This farmer comments on the absurdity of still doing what his grandfather did in the 21st century, as the camera shows him working with the cattle up front and a modern city visible in the distance. Saxon’s earliest image from “Ochi” also features an interesting contrast between the old and the new. In this case, a horse-drawn carriage is seen moving along the road, followed shortly by a sleek, contemporary car. On Yuri’s homeland, there’s a tense coexistence of the past and present.

In the beginning of “The Legend of Ochi,” crucial aspects about Yuri and her household, particularly her bond with adopted brother Petro, are mentioned casually rather than being fully explored. This opening act seems to rush through the early parts of a story, similar to speedrunning the first two “How to Train Your Dragon” movies. Unfortunately, this haste is noticeable in the initial scenes as they fail to develop Yuri as a character effectively. Instead of using dialogue to explain her background, it would have been more impactful if we were shown what daily life is like for Yuri living with Ochi. These early scenes are vital for connecting emotionally with “The Legend of Ochi’s” story, and their absence makes it challenging to engage further.

Fortunately, the movie stands out in a special way – its stunning visuals. The film, titled “The Legend of Ochi“, employs traditional visual effects methods such as matte paintings and puppets to tell an ancient tale. The main character, Ochi, is particularly endearing due to his realistic fur texture and expressive face. Filmmakers Saxon and cinematographer Evan Prosofsky capture the world of Ochi with vibrant, lived-in colors and a delicate softness that gives the impression of a subtle frost on the lens. These elements combine to create a dreamlike visual style that sets it apart from contemporary children’s films like “A Minecraft Movie“, which prioritize realism excessively.

The vibrant color scheme and outstanding visual effects in The Legend of Ochi create an abundance of captivating visuals. Composer David Longstreth enhances these visuals with a creatively inspired soundtrack that dynamically varies, showcasing various musical influences. In some instances, compositions dominated by flutes evoke a ballet-like atmosphere for scenes featuring Yuri and Ochi. On the other hand, Longstreth chooses a more classical score fitting for adventure movies when depicting Maxim and his young soldiers. A poignant reunion scene between Maxim and Dasha (Emily Watson) features a track with a quasi-mechanical sound reminiscent of an old music box.

In the realm of The Legend of Ochi, the creativity showcased in its music and visuals is noticeably missing from its dialogue. Strangely, Saxon seems just as enamored with lengthy exposition as he is with creating stunning practical effects. Consequently, all the conversation serves to diminish the awe-inspiring spectacles that unfold on screen. Regardless of the constant chatter, crucial character relationships remain undeveloped. Characters like Yuri and Maxim lack the depth and intrigue required to compensate for their stereotypical father/daughter relationship dynamic, which follows an expected path.

In my opinion, Saxon’s screenplay seems to have a challenging task in emphasizing Yuri’s epic voyage as impactful. Various challenges such as falling into a pit, losing Ochi, or an ordinary grocery store excursion turning chaotic pass by without significantly shaping the narrative. Remarkable tales like “The Iron Giant” and “How to Train Your Dragon,” which brilliantly incorporate danger for adolescent characters, consistently maintain a sense of tangible peril. Despite Saxon’s script providing space for grittier language, alcoholism references, and darker themes, there’s often a lack of engaging danger on-screen. The impressive practical effects can’t compensate for the flat drama.

As a movie reviewer, I found myself grappling with some technical hiccups in “Ochi” that left me scratching my head at times. The geography within certain scenes was tricky to follow due to questionable editing and framing. A particularly frustrating example of this issue occurred during the sequence where Maxim discovers a wrecked vehicle, where the tight-knit framing made it difficult to fully grasp the setting.

The climactic finale aimed for an emotional punch but fell short due to awkward staging. The scene’s poignant moments were marred by the frenzied movement of both script and camera, as they seemed desperate to resolve multiple storylines at once. Picture a heartwarming moment between Hiro and Baymax from “Big Hero 6” being frequently interrupted by cuts to other characters, and you’ll have an idea of what I mean by the chaotic nature of Ochi’s crowded closing scene.

The Tale of Ochi is undeniably a visual spectacle, boasting stunning wide shots, thanks to the hard work and dedication poured into its matte paintings and costumes. Its script’s refusal to simplify for young audiences is commendable, as is the intricate detail in the portrayal of every radio station tuned to European music. However, Isaiah Saxon’s interpretation of Ochi leans towards a conventional narrative style, which detracts from its overall appeal due to its generic feel. The film industry often revisits old ideas, and here, 43 years after The Dark Crystal, The Legend of Ochi offers another fantasy movie laden with visual effects flair but lacking in captivating characters.

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2025-04-29 15:14

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