REVIEW: The Legend of Ochi

This decade has seen a renaissance of movies claiming to be "this generation's ET," but you probably can't remember their names any better than I can. We could have all sorts of debates why it is no one seems to know how to access that these days, though I don't think for a moment that it's because 2020s America is actually beyond considering what it means to touch that childhood innocence.

But A24's newest film, The Legend of Ochi, does have me thinking this mental block is mostly self-inflicted by a world whose extoling of childhood is more driven by a dislike of the older generation than anything else. Fitting together narratives like How to Train Your Dragon with Fiddler on the Roof and tossing it in the sock drawer with 1980s dark fantasy, The Legend of Ochi is intermittently enchanting, but it's undermined by its own cynicism.

On an island stepped out of time, a secluded community wages war against the local population of monkey-like creatures called Ochi. These little guys may or may not be eating the sheep herds, but William DeFoe sure thinks they are. Makes sense. These guys totally look like the kinds of beasts that would naturally feast on livestock ... Our protagonist, Yuri, finds one of their young in a trap and spends all of ten seconds deciding whether or not to help it out. Daddy DeFoe's not a fan of this idea, but that's fine and good. Yuri's not a huge fan of her dad either. All interested parties find themselves converging over whether or not this little guy gets to go home.

The real star of the show is the golden monkey on Yuri's shoulder. Ochi reportedly had six different puppeteers orchestrating him at any given moment, resulting in an intricate tactile performance. The best thing we can ask for from this film is that storytellers might be curious to replicate this kind physical filmmaking, willing the fantastical into our world without always relying on the interface of computer-generated creatures.

But tragically, the magic of the puppet-work only winds up working against the movie.

The Ochi are presented as wholly natural in this world. Director Isaiah Saxon likened it to an existing primate species that hadn't featured on a BBC special yet. They are not supernatural and have no magical properties that would trigger the kind of superstitious hysteria that fuels this movie. Neither is Daddy some capitalist overlord trying to raze their territory to build like a shopping mall. The plight of the Ochi has no basis in real world discussions about deforestation, nor of adult distrust of childhood innocence or the concept of progress. And so the movie utterly fails to capture the realities of why people ever hated the mysterious or precious things of the world in the first place.

The movie quickly devolves into a lampoonery session for William DeFoe, who gets to the mouthpiece for some kind of amorphous archaism. William DeFoe hates the little critters because that generation can just be so backwards sometimes, don'cha agree? What attempt there is at psychology winds up feeling very shallow and incurious. The movie has this unspoken suggestion that his character is so mired in traditionalism because he just can't conceive of a world where it was okay for his wife to have left him. Yuri's dad has no microtraumas that would benefit from some examination, only a patriarchal delusion handed to him by some invisible hand in the sky.

More disappointing, there's no sign that Yuri herself ever bought into the propaganda she was raised on. And so her rescue of and subsequent adventure with the creature carries no thematic weight. Helena Zengel herself plays a believable weird girl, but her character is not being challenged and is taking no leap of faith. This is How to Train Your Dragon where it never crosses Hiccup's mind that the dragon might kill him if he lets it go. Congratulations, Yuri, for finding it in your heart to not kill fluffy Grogu ...

There are fleeting suggestions of ET that make you wish the movie was better than it actually is. Mostly in the golden lighting, or the wide shots of the mountain scape. I love childhood reverence for the mystical as much as the next film critic, but this film isn't really about the natural love children have for the small things of the world, or the tease of future discovery. It's about grown-ups.

Even if it doesn't want to be.

--The Professor

Comments

The Earthling: Some Observations on "Natural Masculinity"

I’ve talked quite a bit about “toxic masculinity” across his blog, but I want to talk for a moment about a companion subject–“natural masculinity.” I’ve heard several other names and labels assigned to the idea, but the general concept is this idea that men are disposed to behave a certain way and that sOciETy forces them to subjugate this part of themselves. Maybe some of us were raised by someone, or currently live with someone, who buys into these attitudes. Maybe they’re perfectly fine most of the time, but once they meet up with Brian from sophomore year and go out into the mountains for a “weekend with the guys,” a sort of metamorphosis takes place. Jokes that were unacceptable to them become hilarious. Certain transgressions lose their penalty. Gentle Joe kinda mutates into a jerk. This is all propelled and reinforced by the idea that this is how men just are , and that entitles them to certain actions. And who are these women to infringe upon that God-given right? Gladiator (2...

"When Did Disney Get So Woke?!" pt. 1 The Disney of Your Childhood

So, I’m going to put out a somewhat controversial idea here today: The Walt Disney Company has had a tremendous amount of influence in the pop culture landscape, both in recent times and across film history. Further controversy: a lot of people really resent Disney for this. I’ve spent a greater part of this blog’s lifetime tracking this kind of thing. I have only a dozen or so pieces deconstructing the mechanics of these arguments and exposing how baseless these claims tend to be. This sort of thing is never that far from my mind. But my general thoughts on the stigmatization of the Disney fandom have taken a very specific turn in recent times against recent headlines. The Walt Disney Company has had some rather embarrassing box office flops in the last two or three years, and a lot of voices have been eager to link Disney’s recent financial woes to certain choices. Specifically, this idea that Disney has all the sudden “gone woke.” Now,...

"When Did Disney Get So Woke?!" pt. 2 Disney vs the 21st Century

In the first half of this series , we looked at this construction of the Disney image that the company has sold itself on for several decades now. Walt himself saw the purpose of his entertainment enterprise as depiction a happier world than that which he and the audience emerged from, and that formed the basis of his formidable fanbase. But because the larger culture only knows how to discuss these things in the context of consumerism, a lot of intricacies get obscured in the conversation about The Walt Disney Company, its interaction with larger culture, and the people who happily participate in this fandom. Basically, critics spent something like fifty years daring The Walt Disney Company to start being more proactive in how they participated in the multi-culture. And when Disney finally showed up in court to prove its case, the world just did not know what to do ... The 21st Century With the development of the inter...

REVIEW: Mufasa - The Lion King

To get to the point, Disney's new origin story for The Lion King 's Mufasa fails at the ultimate directive of all prequels. By the end of the adventure, you don't actually feel like you know these guys any better. Such has been the curse for nearly Disney's live-action spin-offs/remakes of the 2010s on. Disney supposes it's enough to learn more facts or anecdotes about your favorite characters, but the interview has always been more intricate than all that. There is no catharsis nor identification for the audience during Mufasa's culminating moment of uniting the animals of The Pridelands because the momentum pushing us here has been carried by cliche, not archetype. Director Barry Jenkins' not-so-secret weapon has always been his ability to derive pathos from lyrical imagery, and he does great things with the African landscape without stepping into literal fantasy. This is much more aesthetically interestin...

An Earnest Defense of Passengers

Recall with me, if you will, the scene in Hollywood December 2016. We were less than a year away from #MeToo, and the internet was keenly aware of Hollywood’s suffocating influence on its females on and off screen but not yet sure what to do about it. Enter Morten Tyldum’s film Passengers , a movie which, despite featuring the two hottest stars in Hollywood at the apex of their fame, was mangled by internet critics immediately after take-off. A key piece of Passengers ’ plot revolves around the main character, Jim Preston, a passenger onboard a spaceship, who prematurely awakens from a century-long hibernation and faces a lifetime of solitude adrift in outer space; rather than suffer through a life of loneliness, he eventually decides to deliberately awaken another passenger, Aurora Lane, condemning her to his same fate. So this is obviously a film with a moral dilemma at its center. Morten Tyldum, direc...

REVIEW: ONWARD

The Walt Disney Company as a whole seems to be in constant danger of being overtaken by its own cannibalistic tendency--cashing in on the successes of their past hits at the expense of creating the kinds of stories that merited these reimaginings to begin with. Pixar, coming fresh off a decade marked by a deluge of sequels, is certainly susceptible to this pattern as well. Though movies like Inside Out and Coco have helped breathe necessary life into the studio, audiences invested in the creative lifeblood of the studio should take note when an opportunity comes for either Disney or Pixar animation to flex their creative muscles. This year we'll have three such opportunities between the two studios. [EDIT: Okay, maybe not. Thanks, Corona.] The first of these, ONWARD directed by Dan Scanlon, opens this weekend and paints a hopeful picture of a future where Pixar allows empathetic and novel storytelling to gui...

Meet Me in St. Louis: The Melancholy Window of Nostalgia

I don’t usually post reviews for television shows, but it feels appropriate to start today’s discussion with my reaction to Apple TV+’s series, Schmigadoon! If you’re not familiar with the series, it follows a couple who are looking to reclaim the spark of their fading romance. While hiking in the mountains, they get lost and stumble upon a cozy village, Schmigadoon, where everyone lives like they’re in the middle of an old school musical film. She’s kinda into it, he hates it, but neither of them can leave until they find true love like that in the classic movie musicals. I appreciated the series’ many homages to classical musical films. And I really loved the show rounding up musical celebrities like Aaron Tveit and Ariana Debose. Just so, I had an overall muddled response to the show. Schmigadoon! takes it as a given that this town inherits the social mores of the era in which the musicals that inspired this series were made, and that becomes the basis of not only the show...

Investigating Nostalgia - Featuring "Who Framed Roger Rabbit" and "Pokemon: Detective Pikachu"

The 1700’s and the age of exploration saw a massive swell of people leaving their homelands for an extended period or even for life. From this explosion of displacement emerged a new medical phenomenon. Travelers were diagnosed with excessive irritability, loss of productivity, and even hallucinations. The common denominator among those afflicted was an overwhelming homesickness. Swiss physician Johannes Hofer gave a name to this condition. The name combines the Latin words algos , meaning “pain” or “distress,” and nostos , meaning “homecoming,” to create the word nostalgia . Appleton's Journal, 23 May 1874, describes the affliction: Sunset Boulevard (1950) “The nostalgic loses his gayety, his energy, and seeks isolation in order to give himself up to the one idea that pursues him, that of his country. He embellishes the memories attached to places where he was brought up, and creates an ideal world where his imagination revels with an obstinate persistence.” Contempora...

REVIEW: Encanto

It was around Disney's 50th animated feature, Tangled , that this critic first came into film discourse. A lot has changed within the House of Mouse in the years since, and we now find ourselves the recipient of the Disney canon's 60th feature film, Encanto , directed by Jared Bush, Byron Howard, and Charise Castro Smith. What does this latest entry contribute to the library? Turns out, quite a bit. Nestled in their enchanted house, Casita, the Madrigal family dazzles their community with their fantastical gifts. Elegant Isabella makes flowers grow in her footsteps, young Antonio chats it up with the local wildlife, and Mirabel ... wishes she had a gift like the rest of her family. It's hard to feel important when you're the only one in your family without a superpower, especially with your grandmother constantly shoving you into the corner. But all is not right in paradise. The magic is fading from Casita, and Mirabel is the only one who can keep her f...

REVIEW: In The Heights

I can pinpoint the exact moment in the theater I was certain I was going to like In the Heights after all. There's a specific shot in the opening number, I believe it even features in one of the trailers, that has lead character Usnavi staring out the window of his shop observing the folks of his hometown carried away in dance. The reflection of this display of kinetic dreaming is imposed on the window over Usnavi's own yearnful expression as he admires from behind the glass plane. He's at once a part of the magic, yet totally separate from it. The effect has an oddly fantastical feel to it, yet it's achieved through the most rudimentary of filming tricks. This is but one of many instances in which director Jon M. Chu finds music and light in the most mundane of corners. The film is anchored in the life of storeowner, Usnavi, as he comes to a crossroads. For as long as he's run his bodega, Usnavi's guiding dream has been to return to his parent's co...

Films and Feelings

Search This Blog