In Odyssey, directed by Gerard Johnson, the audience is thrust into a dark and atmospheric thriller that refuses to play by the usual rules. Odyssey features a female protagonist (Polly Maberly) in a genre almost entirely dominated by men. This film dares to challenge expectations, unraveling a tense and morally complex journey through a fractured world of real estate swindlers, mounting debts, and sinister figures lurking around every corner.
Our antiheroine is a tough-as-nails real estate agent whose life seems to be perfectly curated—a sharp wardrobe, a sleek BMW, and a stylish loft. But beneath the surface lies a turbulent spiral of crushing debt, fueled by a vicious coke habit and an appetite for more. Enter the loan sharks, shadowy figures from whom there’s no escape. They give her an ultimatum: hide a fellow agent they’ve kidnapped because he’s double-crossed them. This puts her in an increasingly precarious position, leading her to seek help from a figure from her past—the Viking.
The real brilliance of Odyssey lies in its lead performance. The protagonist is undeniably unlikable—self-centered, reckless, and cold-hearted—but somehow, we still find ourselves rooting for her. Why? Maybe it’s because she’s the lesser of multiple evils, or perhaps it’s the strength of the actress’s portrayal that makes us sympathize with her in spite of her flaws. Alongside her, the Viking, an enigmatic character with his own troubled history, adds an additional layer of intrigue. Both actors shine, particularly in the charged moments between them, where vulnerability and power clash in unexpected ways.
The film’s real estate angle is equally compelling, with the theme of corruption and greed running through every scene like a poisoned thread. The real estate business in Odyssey is a world where swindlers thrive, and money is the only thing that matters. It’s a chilling portrayal of how far people will go to maintain their image, their wealth, and their status.
Stylistically, the film oozes cool, with a slick electronic score that pulses through every scene. The soundtrack propels the tension, imbuing the film with an almost hypnotic quality. The sequences of strobe lights and slow dance moves could have been trimmed to improve pacing, but they nonetheless add a haunting aesthetic that fits the overall tone. There are moments, like when the protagonist moves through the rainy streets of old London searching for the Viking, or when she shares a surreal dance with Dan, that feel like they belong in a fever dream.
The showdown in the creepy farmhouse is another highlight, heightening the film’s eerie and unsettling atmosphere. The location, paired with the escalating tension, serves as the perfect backdrop for a final, violent reckoning.
In conclusion, Odyssey is an enthralling and stylish film, driven by a standout performance and a score that will haunt you long after the credits roll. Though it’s not without its flaws—some unnecessary stylistic flourishes and a bit of unnecessary backstory—it remains a thrilling, if bleak, exploration of the choices we make when faced with impossible situations. In Odyssey, the lines between good and evil are blurred, and it’s up to the audience to decide whether the protagonist’s desperate actions are justified or simply the last whim of a woman whose life has already unraveled beyond repair.
Score
Odyssey is a thrilling and stylish crime film, with some solid horror elements showcased in the third act. It's runtime could have been cut in my opinion, but fans of this genre should NOT let this one slide under their radar.
