“Oddity,” the latest stab at supernatural unease from director Damian McCarthy (“Caveat”), is an undeniably unique little tale, not far from living up to its title and instead walking a line between conventional horror tropes and a handful of attempts to set itself apart from the crowd in ways that fall ever short in crossing the finish line. It’s a film that wears its potential on its sleeve, with messages somewhat buried under a story that shifts direction as if to suggest a series of deliberate screenwriting pivots or indecision as to the core plot and a slight disappointment as there’s nary a poor performance to be had, nor any editing missteps or difficulty making it to the end. Watchable, slightly safe, and somewhat confusing; that’s how “Oddity” likes it, and it all starts with the opening.
READ MORE: Summer Movie Preview: 50 Must-See Films To Watch
Dani (Carolyn Bracken) is the spouse of Ted (Gwilym Lee), a couple residing in a rural Irish estate where Dani can be seen photographing the interior. Dani, it seems, has begun the process of renovation. However, you’d be forgiven if her actions in the introductory scenes paint her as a paranormal researcher, especially when she calls her yet-unseen twin sister Darcy (also played by Bracken), leaving a voicemail that contains the vague utterance, “We are connected.” Fueling this theory is what occurs next, when a manic individual (Tadhg Murphy) missing an eye appears at Dani’s door, begging her to leave as he teases a sinister presence lurking within. One smash cut to the title card later, it’s now been a year since that night, one that left Dani murdered and that same man in the confines of the psychiatric hospital Ted oversees. Was that one-eyed menace to blame? All evidence seems to indicate as such, but as we’re quick to see, Ted seems to want further answers, and a trip to the occult-laden shop Darcy owns is in order, leading to the first meeting between Ted and his former sister-in-law in some time. It’s here that Darcy’s overwhelming sadness following Dani’s death can be gleaned from their slightly awkward conversation, as she hides behind a blank expression not at all assisted by the fact that she cannot see but nonetheless armed with a knack for clairvoyance. Those trinkets, baubles, and doo-dads lining the walls of her store? Each has a story, each able to speak with Darcy apparently by touch, but any of these particular supernatural overtones find themselves pushed aside when it’s revealed that Ted has officially moved on, now in the company of Yana (Caroline Menton). Is it this that prompts Darcy to show up unexpectedly at Ted’s cavernous residence soon after, just as a mysterious crate arrives from Darcy herself containing a horrific-looking, mummy-type mannequin? At 98 minutes, it’s a reasonably quick watch, but with Darcy’s arrival kicking off the second act, things are only beginning, for better or worse.
Fortunately, Ted’s need to head back to work kicks off a superb series of scenes between Yana and Darcy, with the former capturing the right level of sarcasm and distrust in her interactions with the aloof Darcy as she all. Still, it makes it clear her desire that this visitor leave as soon as possible. Cutting between scenes at the hospital, where a previously introduced orderly named Ivan (Steve Wall) twirls an imaginary mustache as he begins to delve into what really happened to Ted’s slain wife, the film dances about a Venn diagram as murder mystery blends with “Psycho”-esque back-and-forth amongst Yana and Darcy, all with an unsettling otherwordly feel hanging above but only touching the ground from time to time. It’s here that Yana becomes something of an audience surrogate; watching the videos Dani shot in the time leading to her final days that kick off an undeniably effective jump scare, the first of several, it’s clear that something else may be at work within these walls, something removed from the one all believed responsible for Dani’s murder. Is the mannequin to blame?
Unfortunately, many of the more ghostly backstories remain only briefly touched upon or completely undescribed, and those that do receive a proper explanation become buried moments later by another instance of Darcy behaving (ahem) oddly. One scene, which shall remain unspoiled, plunges “Oddity” into that of a graphic slasher, if only briefly, before returning to that feeling of a haunted house tour once again. At times, it’s almost entirely unclear what’s happening, even as the film takes great pains to simplify as much as possible; in shifting gears more than was ever needed, McCarthy unnecessarily toys with the audience, all the way to the film’s final shot that itself conjures a head scratch as opposed to a feeling of dread. One thing beyond apparent, however, is Darcy’s quest for revenge in the wake of Dani’s loss, as well as that possibly sought by Dani herself; as Darcy listens to that final voicemail and the third act allows for this sole clear message to surface, the connection between sisters and that mystery angle begin to emerge at the front of the pack.
Ghostly presence? Sure. Irish countryside? Irrelevant. By using the world beyond ours as a conduit, McCarthy has crafted a good old-fashioned revenge thriller disguised as something more, and it’s in this that parts of the film succeed. Plotlines interweave as best they can, with but a few unresolved by the movie’s end; even that mummified oddity that shares the title could have used another line or two explaining its backstory or more significant purpose. There’s a paint-by-numbers sensation acquired from a cursory glance, but in diving down further is the potential for something better beyond clear. [C]
“Oddity “opens in theaters July 19 via IFC Films.