The Return

Remember the late-’90s PBS series Wishbone, in which the titular Jack Russell terrier dreamt he was in tales from classic literature that just so happened to complement the dramas faced by his tween owner Joe and his human associates?

Throughout The Return, I couldn’t help but think of the series’ episode spotlighting The Odyssey, particularly the scenes in which this canine Odysseus at comes back to his home of Ithaca after years away and has to prove that he’s indeed his people’s long-lost king.

The memory-jogging feels appropriate considering the TV-movie production value of Uberto Pasolini’s film, which zeroes in on that final stretch of Homer’s epic poem and struggles to justify its near two-hour runtime.

At least that's the case whenever Ralph Fiennes’ Odysseus isn’t on screen. Back home after an arduous voyage yet suffering from survivor's guilt to the extent that he's hesitant to reveal himself even to his loved ones, the monarch is imbued with Shakespearean gravitas by the veteran actor, who makes each moment quietly riveting.

Otherwise, The Return plays largely as filler amidst fairly alluring rustic island scenery. Among the victims is Juliette Binoche in a thankless, non-showy role as Queen Penelope, whose resistance to accept that her husband may indeed be dead (or otherwise engaged) results in a one-note performance centered on denial.

Elsewhere, the usually reliable Charlie Plummer (Lean on Pete) flails about as Prince Telemachus, and Marwan Kenzari (Jafar in the live-action Aladdin) sleepwalks in a seemingly juicy part as Antinous, one of the many potential rotten suitors for Penelope.

But despite the famous nature of this story and its window for spoilers having long passed, Pasolini nevertheless engineers a decent amount of tension regarding who knows Odysseus’ true identity. And the English Patient reunion between Fiennes and Binoche somewhat lives up to its billing in their handful of shared scenes.

None of it is enough to push The Return into must-see territory. However, perhaps in Wishbone’s honor, Pasolini nails the film’s big, emotional dog scene, earning the work a place in the pantheon of animal movie moments.

Grade: B-minus. Rated R. Now playing at Regal Biltmore Grande

(Photo: Bleecker Street)