Movie Review: ‘The Legend of Ochi’

‘The Legend of Ochi’ receives 7.5 out of 10 stars.

Opening in theaters on April 25th, ‘The Legend of Ochi’ invites you into a world of creatures, heroes, an ages-old conflict and a surprising friendship that proves to be a balm for a splintered family.

First-time director Isaiah Saxon’s movie also answers the question, “what if A24 let someone make a 1980s family film in the studio’s style?”

Related Article: Willem Dafoe Talks Psychological Thriller ‘Inside’ and Acting by Himself

Will ‘The Legend of Ochi’ make you want to preserve it?

Bringing us to the distinct and quirky world of a tiny, remote village nestled on the island of Carpathia in the Black Sea, ‘The Legend of Ochi’ sets its stall early, with a quick introduction to the narrative in storybook form.

Writer/director Saxon has cooked up something unique, though filled with influences from the Amblin creature features of the 1980s and the stylistically challenging work of Spike Jonze or Michel Gondry. There’s also just a hint of Wes Anderson here, though without his rigid dedication to framing and design.

Yet the filmmaker has also injected plenty of his own heart and feeling into the movie, making this an entertaining crossbreed.

Script and Direction

Saxon’s screenplay is a rich one, choosing to lean less on dialogue and more on emotion and instinct. Which is not to say ‘Ochi’ is a silent film, far from it –– between the bluster of Willem Dafoe’s Maxim the frustration and wonder of Helena Zengel’s Yuri and the straightforward pragmatism of Emily Watson’s Dasha, there is still plenty of language to enjoy.

Yet the focus is really on Yuri and her budding friendship with the sweet baby Ochi she bonds with after its family is scared off by Maxim’s group of boy soldiers.

While the story might be a basic one about a youngster whose life is changed by the connection she makes with an unlikely ally, it has so much of its own personality that it works.

It’s also in direction where Saxon shines, collaborating with cinematographer Evan Prosofsky and production designer Jason Kisvarday to whip up a world of his own, both recognizably human but just enough removed from reality to give it its own unique feel.

It all conspires to give the movie as a whole the dynamism of a fairytale crossed with a bleak Eastern European drama –– but don’t get us wrong, this is far from a depressing tale.

Cast and Performances

Helena Zengel might be best known for her work opposite Tom Hanks in ‘News of the World,’ but ‘The Legend of Ochi’ gives her another welcome spotlight. She’s committed as Yuri, the young girl whose family has been shattered by their encounter with the creatures and her parents’ own attitudes.

Desperate for acceptance, Yuri has also become withdrawn, listening to heavy metal music and spending time alone, worried about the legends of the Ochi creatures that those around her are convinced are the biggest threat they face.

Yet when she finally opens up in her friendship with the young Ochi, Zengel brings her fully to life, and the young woman becomes the hero she’s destined to be.

Willem Dafoe likewise fully portrays the blowhard character of Maxim, a man who’s convinced he has a mission, and is so convinced by it he barely has time for his own daughter. The actor is clearly enjoying a new period of offbeat roles that let him properly embrace his love for character work.

Similarly, Emily Watson brings her all to Dasha, a woman whose life has been designed around learning more about the Ochi, but has, much like her daughter, withdrawn from the world. She’s a spiky, staunchly no-nonsense person, practical to a fault, but also filled with longing for connection again.

Besides the three main cast members, the world is weaved by the ensemble, especially Maxim’s group of young soldiers, who might not have lines, but add plenty to the movie.

And finally, all credit to everyone involved in the puppets and other creature effects –– the Ochi as a species (a sort of bear/bat/ape hybrid) are realized in truly memorable fashion, making them both clearly natural but also not of our environment. The sound design for them is also impressive, crafting a language of hoots and trills that is distinctive and creative.

Final Thoughts

Though it might be too languid and unusual for some family audiences, Saxon’s attempt to make a movie for all ages while maintaining the distinct A24 style works. It has its own voice, and a message that, while you’ve heard it in other movies, works here.

They really don’t make ‘em like this often, and it should be cherished.