‘O’Dessa’ Review: Sadie Sink Finds a Few Grace Notes in an Otherwise Discordant Rock Opera

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In the beginning, there were only a few title cards to introduce the magical realm where “O’Dessa” is set. It might be clearer if more cards were added, guiding viewers back to a period before Disney acquired Fox, when Geremy Jasper’s rock opera was initially conceived and developed at Searchlight with much excitement following his Sundance success with “Patti Cakes.” Now fragmented, the narrative about a young girl (Sadie Sink) and her guitar appears to be the result of different executive teams not being able to agree on a single concept. Instead, they opted for a straightforward story within an elaborate backdrop that has become mostly confusing due to studio suggestions.

O’Dessa,” set to premiere on Hulu a week following its SXSW debut, symbolizes the conclusion of an era for its studio. This production was born within the studio from alumni of “Beasts of the Southern Wild.” Essentially, it represents a vestige of a period when Searchlight Pictures took interest in second films from filmmakers whose daring debuts they had acquired at Park City in the mid-2010s. Although this strategy was commendable, not many of these sophomore projects left significant impacts: Benh Zeitlin’s sequel to “Beasts,” titled “Wendy,” didn’t make a big splash, and the creators of the innovative duo behind “Sound of My Voice,” Zal Batmanglij and Brit Marling, shifted their focus to television after “The East.

It’s surprising that “O’Dessa,” a movie with over a dozen original songs and Regina Hall portraying a villain, even got approved initially. (Given her performance, sporting electrified brass knuckles and without eyebrows, Hall deserved more screen time.) However, disillusionment arises when it seems that during the project’s development, Jasper was probably instructed to just rehash familiar tunes.

The delicate strand binding the bursting movie’s plot resembles “Patti Cakes” in its logline, as a young woman questioning her voice finds an ally (Kelvin Harrison Jr.) among society’s outcasts and uncovers her inner strength. Contrastingly, Danielle MacDonald had to hone her rap skills within the familiar surroundings of New Jersey, whereas Satylite City, the decaying wasteland allegedly teeming with life on a dying earth, offers nothing relatable where O’Dessa embarks to fulfill her destiny as a rambler’s daughter, a genre of musician long past its prime.

In her visions and performances, O’Dessa blends elements from traditional country attire (as worn by her late father in her dreams) with a Buddy Holly-inspired rockabilly style. This fusion gives an initial impression of her musical roots, but it’s misleading since her music encompasses a diverse range of styles that lean more towards rock and pop. As she becomes increasingly recognized as a symbol of freedom for the people, there’s growing perplexity about what exactly she represents due to this unexpected musical diversity.

In my critique as a movie enthusiast, “O’Dessa” pulsates with vigor, seamlessly transitioning from one musical number to another, with Sink delivering an admirable performance throughout. However, the narrative could use some clarity. The romantic connection between O’Dessa and Harrison’s character, Euri, feels forced and hasty given the hurried pace of the plotline.

Moreover, O’Dessa is thrust into a variety show titled “The One,” while Euri is held captive by its eccentric host, Plutonovich, portrayed brilliantly by Murray Bartlett. The character of Plutonovich seems to be inspired by the era when reality TV shows like “American Idol” reigned supreme and a television personality was on the verge of becoming the President of the United States. This context provides some rationale for why Plutonovich is revered in this fictional world, but the film fails to present a compelling justification beyond his omnipresence on everyone’s screens.

Despite the abundant passion and creativity shown in “O’Dessa,” it’s hard to call it an unmitigated disaster. The intense performances, intricate production design, and detailed costumes suggest a rich backstory that would be challenging to convey within the time constraints. Unfortunately, this film might struggle to make an impact on streaming platforms. However, when Jasper has crafted something so powerful that it could fill an entire theater at its best moments, it’s unfortunate that its lasting impact may rely on being shared as TikTok clips by fans of Sink and Harrison. In these instances, the film’s boldness can be admired without needing a lot of additional context.

As a movie critic, I found myself reflecting on “O’Dessa” during Plutonovich’s poignant swansong in “The One.” Instead of strumming a full chord, she reduces her guitar to a solitary string, mirroring the film’s attempt to explore fresh themes while seemingly repeating the same melody.

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2025-03-09 19:47