Gerard Johnson's latest directorial effort, Odyssey, is a jagged and unapologetic thriller that hurtles its protagonist down a rabbit hole of self-destruction. Polly Maberly shines as Natasha Flynn, a small-time estate agent whose life is slowly unraveling under the weight of her own deceit and substance abuse.
As Natasha's grip on reality falters, she becomes increasingly erratic, oscillating between charm and venom towards her hapless colleagues. The script expertly captures her duplicitous nature, where every conversation is laced with insincere warmth and brittle tension. Maberly brings an infectious energy to the role, imbuing Natasha with a sense of comedic desperation that's both captivating and heartbreaking.
However, Johnson's bold decision to pivot into Grand Guignol horror territory midstream raises questions about the film's narrative coherence. The setup promises a satisfying reckoning for Natasha's wrongdoings, but instead, Odyssey careens into a blood-soaked abyss, leaving viewers questioning what's happening and why.
Criticisms aside, Maberly remains a compelling presence throughout, carrying the audience through the most disturbing and illogical of plot twists. Johnson's supporting cast – including Charley Palmer Rothwell as her dweeby colleague Spike – also delivers strong performances that add to the film's overall sense of unease.
The true highlight, however, lies in the sonic landscape created by Matt Johnson, Gerard's brother, whose pulsating and menacing score provides a perfect counterpoint to the on-screen chaos. This aural maelstrom heightens the tension, drawing viewers into Natasha's twisted world and refusing to let go.
While Odyssey doesn't quite coalesce as a satisfying thriller, Maberly's riveting performance ensures that this mess of a film remains watchable, if occasionally infuriating.
As Natasha's grip on reality falters, she becomes increasingly erratic, oscillating between charm and venom towards her hapless colleagues. The script expertly captures her duplicitous nature, where every conversation is laced with insincere warmth and brittle tension. Maberly brings an infectious energy to the role, imbuing Natasha with a sense of comedic desperation that's both captivating and heartbreaking.
However, Johnson's bold decision to pivot into Grand Guignol horror territory midstream raises questions about the film's narrative coherence. The setup promises a satisfying reckoning for Natasha's wrongdoings, but instead, Odyssey careens into a blood-soaked abyss, leaving viewers questioning what's happening and why.
Criticisms aside, Maberly remains a compelling presence throughout, carrying the audience through the most disturbing and illogical of plot twists. Johnson's supporting cast – including Charley Palmer Rothwell as her dweeby colleague Spike – also delivers strong performances that add to the film's overall sense of unease.
The true highlight, however, lies in the sonic landscape created by Matt Johnson, Gerard's brother, whose pulsating and menacing score provides a perfect counterpoint to the on-screen chaos. This aural maelstrom heightens the tension, drawing viewers into Natasha's twisted world and refusing to let go.
While Odyssey doesn't quite coalesce as a satisfying thriller, Maberly's riveting performance ensures that this mess of a film remains watchable, if occasionally infuriating.
it's like gerard johnson took every bad decision nats makes and ran with it 
but at the same time, polly maberly is just straight up captivating as the toxic nats 
her energy is infectious, even when we're all just sitting there like "what the heck is happening?" 
matt johnson's score tho? it's like the soundtrack to my anxiety 
anyway, i'm still gonna watch odyssey again because maberly is that good, and also charley palmer rothwell as spike is a hidden gem 
. That score by Matt Johnson though? 
Genius! It's like he took all the unease and tension and turned it into this unstoppable force that just kept me on edge 
. Polly Maberly is seriously talented, she brings this level of vulnerability to Natasha that makes you want to root for her despite her worst tendencies 
. Maybe I'm being too harsh, but if they could've tied up the loose ends a bit more, it would've been even better 
. The supporting cast is also on point, especially Charley Palmer Rothwell as Spike... he adds this lovable loser vibe that makes you wanna root for him 
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. But what really threw me off was when it just went from thriller to full-on horror movie in the middle of nowhere... like, I get it, twisty plots can be wild but come on! 
Still, Maberly's performance is like a train wreck you can't look away from 
and the score by Matt Johnson is straight fire 
! She brings so much depth to her character Natasha Flynn, it's like you can't look away from the train wreck that is her life 
. The music tho, Matt Johnson's score is INSANE 
it's like the main antagonist of the whole film... seriously though, Polly Maberly's performance was a total highlight 
. One minute you've got a solid character study, and the next, it's like he just threw a bunch of crazy scenes at the wall to see what sticks 
. And don't even get me started on the score – I mean, who thought it was a good idea to have pulsating electronic beats while your protagonist is having a downward spiral? 
, and I'll give her credit for bringing some much-needed energy to this mess 
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