A24
“The Legend of Ochi” is an incredible visual experience. The cinematography, special effects, sound effects and soundtrack are all awe-inspiring. The plot and dialogue, however, are completely convoluted. So while this movie is well-made, it is not any good.
The opening scenes feel like a fantasy environmental film, especially when it cuts to Yuri (Helena Zengel), who cares about all living things and goes on to spend the better part of the movie saving a misunderstood species called Ochi. The scenery hooks the viewer, accompanied by a thoughtful soundtrack that sounds like a live orchestra is playing in the theater. These scenes are jaw-dropping, with swooping aerial views of both lush and barren landscapes that resemble paintings.
The main conflict is that Yuri’s father, Maxim (Willem Defoe), hunts Ochi, and Yuri — along with her adopted brother, Petro (Finn Wolfhard), and a scraggly gang of pre-pubescent boys — goes on expeditions to exterminate the Ochi. The creatures have sharp teeth but are otherwise orange and fuzzy versions of Baby Yoda. Out of empathy for the abandoned creature that reflects her own lack of a motherly figure, Yuri rescues an injured Ochi and embarks on a journey to return it to its family. It is hard to understand how anyone actually sees the Ochi as dangerous, which limits the believability factor of the movie.
But that potential for believability goes right out the window as soon as Defoe comes on screen. His armor for the hunting expeditions is clunky and goofy-looking, which aptly reflects his entire character. He says lines like “I bought it at a gas station” with such a deep and emotional tone that the theater burst out laughing. When he drives his truck, he turns it around by ramming into a wooden fence instead of using the road. This sporadic comedic relief is expected of an A24 film, but this time, it just felt cheesy.
The Ochi communicate through a series of melodic sounds, as if a flute could play bird noises. As soon as the audience is introduced to the Ochi’s chirping, the thematic focus shifts from the environment to sound. Then, Yuri’s absent mother, Dasha (Emily Watson) comes into the narrative, switching the thematic focus to family bonds. Dasha studies the Ochi’s language, and when Yuri realizes she can talk to her creature friend, she joins in her mother’s fascination. Suddenly, the movie is about language and emotion.
The themes whip from environmentalism to sound to family to language and back to family when Yuri returns her Ochi to its mother. There are so many genius layers to this movie — like the commentary on how language unites us and is inherently beautiful — but none of them feel connected. The different themes and plot points are integrated so poorly that each scene feels like it should be its own short film.
The dialogue reflects that incoherence, too, but it feels more intentional. “The Legend of Ochi” takes on a Wes Anderson or Woody Allen style of dialogue that feels awkward and self-aware, like the characters know their lines are just words on paper. There are parts that are geared toward kids, like when Yuri’s Ochi hands her a bug, prompting, “Try it.” When Yuri picks her nose and recites the word for booger, the Ochi says again, “Try it.” That elicited some giggles.
The nearly two hours of screen time are worth it for just one reason: the soundtrack. “The Legend of Ochi” integrates its music into the dialogue. Very few words are spoken between characters — and when they are, I wish they were not. The music is so expressive that the viewer can hear and feel exactly what is happening. This is a movie that does most of its storytelling through its music; it plays quick staccato strings over chase scenes and slow cello parts over landscape shots, doing more work in narrating the movie than the actual plotline.
It is easy to appreciate the artful musicality of the film, but ultimately, it would not be worth a second view. In most cases, it probably is not worth the first.