Review by Jon Donnis
Isaiah Saxon's The Legend of Ochi is a curious and quietly ambitious fantasy that offers flashes of beauty and menace, but ultimately suffers from a meandering middle and sluggish pacing. As a debut, it reveals a distinct visual style and a love of practical effects. However, it may not hit the mark for all audiences, particularly the younger ones it appears to be targeting.
Set on the remote, snowy island of Carpathia, the film follows Yuri (Helena Zengel), a young girl raised in a patriarchal village ruled by fear and violence. Her father Maxim (Willem Dafoe), disappointed she wasn't born a boy, trains children as soldiers to hunt the mysterious, goblin-like creatures known as the Ochi. When Yuri stumbles upon an injured baby Ochi and bonds with it, she decides to defy her upbringing and return the creature to its family. What follows is part escape and part quest, as Yuri evades pursuit from her father and searches for her estranged mother (Emily Watson), while trying to lead the baby Ochi to safety.
Visually, The Legend of Ochi is often mesmerising. Saxon's background in animation and world-building pays off with painted matte landscapes and a mix of media that recalls the tactile magic of 1980s fantasy cinema. Puppetry and animatronics are blended cleverly with digital animation, giving the Ochi a physical presence that feels grounded. The main creature, operated by seven performers apparently, is endearing and well designed, making it a clear highlight for younger viewers.
The film opens with an intense night hunt that sets the tone for something darker than typical family fare. Maxim and his boy soldiers, armed with torches, clash with shadowy creatures in the forest. It is a gripping way to begin and suggests the work of a confident filmmaker with a strong sense of tone and rhythm.
After that strong start, however, the film struggles to maintain momentum. The central premise, where a child finds a misunderstood creature and tries to return it to its kind, is overly familiar. The Legend of Ochi does not do enough to break free of that tradition. The middle portion of the film features extended travel and hiding sequences that are beautifully shot but dramatically thin. It feels like a journey without urgency.
Zengel gives a committed and physical performance, but the film's restrained tone prevents much emotional range. Dafoe plays Maxim with suitable menace, but the character functions more as an archetype than a fully realised figure. Watson's Dasha barely appears and Finn Wolfhard's Petro leaves little impression. The film is light on dialogue and heavier on silent moments, which sometimes enhances the mood but more often contributes to a feeling of drift.
Clocking in at around 90 minutes, the film is wisely brief. Younger children may enjoy the expressive creature design and calm pacing, while adults may admire the craftsmanship behind the visuals. Unfortunately, there are stretches where very little happens. The film occasionally captivates but more often feels inert, drifting between key scenes without enough story progression.
Despite these flaws, The Legend of Ochi remains a notable debut. Saxon has a clear artistic vision and a willingness to use handcrafted visuals over generic computer graphics. It is a thoughtful production with a gentle message, although it lacks the spark and tempo needed to keep the full audience engaged.
A visually rich and well-intentioned debut with a promising voice behind the camera. The Legend of Ochi begins with tension and ends with heart, but its sleepy middle section may leave some viewers disengaged. While not groundbreaking, it is a respectable first effort that shows Isaiah Saxon has potential.
I score The Legend of Ochi a generous 7 out of 10
Out Now on Digital
Apple TV - https://apple.co/3F6kiFQ
