‘O’Dessa’ Review: Sadie Sink in a Post-Apocalyptic Rock Opera With Maximalist Style and Minimal Substance

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In terms of visual style, Geremy Jasper’s 2018 work, titled “O’Dessa“, following his hit 2017 film “Patti Cake$“, embraces an excess of details. Each set is cluttered with knick-knacks and bathed in neon lights, every surface seems to have accumulated years of dirt, and every costume features a mix of various textures and vibrant colors.

The story’s concept reaches for great heights, blending the legend of Orpheus and Eurydice with a post-apocalyptic world reminiscent of Mad Max and Blade Runner. Its themes are deeply emotional and monumental: the might of music, the might of love, and the transformative power of love-inspired music to reshape reality.

Beneath the high expectations, the movie-watching experience feels much like stretching out a lengthy commercial break. There’s an undeniable flair and a hint of grand ambition, but for now, it seems that the content doesn’t quite fill up its impressive structure, lasting as it does for 106 minutes.

As a gamer, I found myself immersed in a narrative that seems like it was pieced together from old, familiar storylines. The main character, portrayed by Sadie Sink, is a solitary farm girl yearning for something more – a grander purpose, you could say. Being the seventh son of a seventh son, she’s destined to be the prophesied “one who can move hearts with a powerful guitar.” (One intriguing aspect of this game is its portrayal of gender fluidity; however, it leaves me puzzled as to how someone without any siblings could possibly be the seventh son.)

When her mother falls ill and leaves the story, O’Dessa embarks on a journey to Satylite City. In this place, she encounters a corrupt and brutal society ruled by Plutovich (Murray Bartlett), who presides over an unending game show similar to both America’s Got Talent and the Hunger Games.

Moreover, she encounters Euri (Kelvin Harrison Jr.), an exceptional musician who hesitates to act as an escort. From their very first meeting, she finds herself deeply and indelibly in love with him. Unfortunately, they are eventually separated, leaving O’Dessa to bravely navigate dangerous grounds to retrieve him.

Despite the extensive narrative, it appears that ‘O’Dessa’ primarily lacks in-depth development of the elements beyond their basic descriptions. The core aspects remain largely untouched from their original formulaic structure, and the characters are not given room to grow beyond their stereotypical foundations. While the acting varies from decent to excellent, it often gets overshadowed by the hurried tempo and overwhelming visuals. Remarkably, Regina Hall delivers an enjoyable performance as Neon Dion, Euri’s ruthless handler; however, her eccentric hairstyle and electrified knuckle-dusters seem to be more memorable than her actions or contributions to the plot.

Simultaneously, while the elaborate costumes designed by Odile Dicks-Mireaux and Anna Munro, as well as the sets by Scott Dougan, are indeed striking, they fail to create a unique historical ambiance for Satylite City or its surroundings. There’s nothing that distinguishes it from the numerous other cyberpunk dystopias that seem to have influenced it.

The sincerity of their feelings seems to work against them rather than for them. It’s clear that O’Dessa and Euri deeply love each other, and Sink and Harrison strive to convey this connection through tender gazes, cute giggles, and kisses so romantic they make the screen seem dreamy. However, their relationship lacks depth – there are no intricacies, no tension, no backstory that could add complexity. Without such elements, it feels more like we’re watching an advertisement or a trailer than a full-fledged story.

The movie titled “O’Dessa” is categorized as a rock opera, and it consistently introduces new melodies within short intervals (the music is credited to Jasper and Jason Binnick). However, the storyline undermines itself by presenting the protagonist as a chosen one who can save humanity with her guitar. This brings to mind Tenacious D’s song about the greatest song in the world and Bill & Ted’s sequel, which emphasize that it’s not the musical prowess but the unity they bring that truly matters. The film sets an exceptionally high bar by promising a unique tune, yet it struggles to realistically approach this standard.

The songs are pleasing to the ear but not particularly catchy, sung by Sink in a rather ordinary voice. The music is intertwined with O’Dessa’s daily life instead of being presented as grand spectacles through elaborate choreography. It seems that adding more flamboyance might contradict the message conveyed by Plutovich, who is portrayed as providing empty distraction, while O’Dessa offers something genuine. However, it’s challenging to envision these songs significantly impacting a listener’s immediate feelings or shaping an entire civilization’s destiny.

A noteworthy aspect that could leave an impression on viewers is the film’s exploration of gender roles, moving beyond traditional swaps from the source myth. Characters such as O’Dessa and Euri don’t strictly adhere to typical masculine or feminine portrayals often seen in films. For instance, O’Dessa is dressed in a style that blends softness with butch rockabilly elements, while Euri is a sensual stage performer who wears skimpy tops, silk robes, and even a lace wedding gown at one point. Their romance follows the general progression of a classic love story, yet it challenges the implicit power dynamics typically found in heterosexual onscreen pairings.

One could easily envision viewers appreciating the characters’ defiance against being stereotyped by traditional gender-based traits, styles, or narratives, potentially making O’Dessa a cult sensation. However, I’m not certain the film is robust enough to carry a deep interpretation of these themes, delving beneath its surface. Yet, it seems appropriate that a movie emphasizing appearance would ultimately find its profound significance in an artistic decision.

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2025-03-09 04:24