Feb 1, 2024

'Orion and the Dark' Review Roundup: a fascinating studio film with the heart of indie cinema

Netflix's "Orion and the Underworld" opens worldwide tomorrow and reviews are pouring in for the latest animated feature produced by DreamWorks Animation.

The film focuses on Orion as an ordinary schoolboy, except for the fact that he is afraid of everything, especially the dark. His phobia becomes especially inconvenient when the literal embodiment of his worst fear, an anthropomorphized version of darkness, removes him from the comfort of his bedroom to prove that there is nothing to fear about the night.

Based on the book of the same name by Emma Yarrett, "Orion and the Darkness" was written by Charlie Kaufman ("Being John Malkovich," "The Eternal Sunshine of the Spotless Mind") and directed by Sean Charmatz ("SpongeBob" story Artist, Head of Story for "The Angry Birds Movie 2") directed the film. DreamWorks Animation established the look of the film in-house, but outsourced the animation to India's Micros Animation, with Paris-based Jungler collaborating on several key sequences.

Early reviews of "Orion" were positive, with many critics praising the film's 2D aesthetic and respect for young audiences. According to most reviews, the film does not shy away from mature themes and should be enjoyed by both children and adults.

Critics' comments on "Orion and the Darkness" include.

Luke Y. Thompson of the AV Club thinks that while older children will enjoy the film, its themes may be a little too mature for some younger audiences:

"Eternal Sunshine of the Spotless Mind" The idea of Charlie Kaufman, an insecure screenwriter of metaphysical nested puppet films, writing an animated feature film for children is as likely to be a G-rated Disney film directed by David Lynch, or Nine Inch Nails frontman Trent Reznor composing the score for Pixar score sounds as unlikely as composing a score for a Pixar film. But they did come to fruition and garnered much acclaim. While "Orion and the Dark" may not resemble any of Charlie Kaufman's previous films, his personality is firmly in place. It may be a bit much for young children, but for 11-year-olds like the ones depicted in this story, it may resonate with them, if only because they refuse to underestimate their intelligence.

Total Film's Kate Stables agrees to some extent, but thinks there is enough in the film for audiences of any age to find something to love:

Despite the 3D, CG-laden look and feel, the film has an indie, hand-made feel, which suits Kaufman's winding, slightly meta story well. Young children may struggle with the film's abrupt storyteller changes, but the smart exploration of fear and emotion is clear and wrapped up perfectly in a hilarious adventure that pits the misunderstood Dirk against his hilariously annoying nemesis Wright (a refreshing Ike Bernholz). Sprinkled with gags about the film (Werner Herzog makes an appearance, and the cupboard from "Poltergeist" still haunts your dreams), this is a charming film for all ages. [In a four-star review in Empire magazine, John Nugent was similarly pleased with the film's indie spirit:

[To the bone] This is Kaufman's film, and while it has an odd sweetness--a legitimately healthy father-daughter relationship--it also has existential dread, big ideas, and a strong resistance to anything too neatly Hollywood-esque. Major studios are to be commended for putting someone like him in the safe enclosure of children's films. [21] [22] Frank Scheck's review in The Hollywood Reporter of "Orion and the Underworld," while highly positive, is a frustrating parroting of the opinion that all animation should be for children:

The best animated films are fun enough for children while at the same time

The best animated films are entertaining enough for children, but also rewarding enough for older viewers. This Netflix premiere from DreamWorks Animation hits that sweet spot. It is the work of screenwriter Charlie Kaufman ("Adaptation," "Eternal Sunshine/Spotless Mind"), who returns to feature animation after a nine-year absence since "Anomalisa. Like the recent "Nimona," "Orion and the Dark Knight" is a sophisticated animated project that surpasses most recent big-budget animated features.

Tessa Smith of Mama's Geeky sums up the review:

"Orion and the Dark" is often predictable but almost always enjoyable. Toward the end, it goes completely off the rails--even jumps the shark--but then restrains itself and makes sense in the end. But the transition is so strange and abrupt (you'll figure it out sometime) that many people may be completely taken out of the film and wonder what they are watching now. This is because, in the end, it all comes together.