{"id":4254,"date":"2026-07-15T16:09:08","date_gmt":"2026-07-15T16:09:08","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4254"},"modified":"2026-07-15T16:09:08","modified_gmt":"2026-07-15T16:09:08","slug":"the-odyssey-review-in-christopher-nolans-vast-thrilling-slightly-aloof-epic-homer-is-where-the-heart-is-not","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4254","title":{"rendered":"\u2018The Odyssey\u2019 Review: In Christopher Nolan\u2019s Vast, Thrilling, Slightly Aloof Epic, Homer Is Where the Heart Is Not"},"content":{"rendered":"
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\n\tMore than 70 years have passed since Hollywood last attempted a straight-up adaptation of Homer\u2019s \u201cOdyssey,\u201d which is an unfathomable eternity considering both its standing as a foundational epic narrative \u2014 the hero\u2019s journey to end, and begin, all hero\u2019s journeys \u2014 and the industry\u2019s tendency to recycle any halfway proven story material until it positively disintegrates. Is it the well-worn familiarity of the text that has protected it from complete cinematic exhaustion, or the great, daunting heft of it? Either way, making a full-tilt film of \u201cThe Odyssey\u201d in the year 2026 is at once a job for the heedlessly adventurous and the staunchly traditionalist. <\/p>\n

Read more Daniel Radcliffe, Young Mazino and Peter Dinklage Join Netflix\u2019s Animated Film \u2018Steps\u2019<\/a><\/p>\n

\n\tEnter Christopher Nolan, the man who has built a bazillion-dollar career on both those virtues. He\u2019s a blockbuster merchant who makes \u2019em like they used to, but also not quite like anyone else has made \u2019em before \u2014 who has extracted a singular auteur reputation from genres, like the superhero movie or the prestige biopic, that don\u2019t tend to favor an idiosyncratic approach. It\u2019s to be expected, then, that Nolan\u2019s take on Homer is thorough, robust and attentive both to scholarly detail and old-school moviemaking craft; it\u2019s likewise no surprise that it\u2019s been reshaped to fit the director\u2019s predilection for trickily non-linear storytelling, its disordered timeline a feat of intricate weaving and unweaving to rival Penelope\u2019s shroud, further complicating even the in medias res<\/em> ploy of the text.<\/p>\n

\n\tIt is understating things to say the result is no small achievement. A genuinely grand, gutsy vision, \u201cThe Odyssey\u201d thrills generously for the bulk of its near three-hour running time: Every few minutes, it seems, it throws at its audience another mighty setpiece that, in almost any other summer studio spectacle, would be a climactic standout. If the language of Homer\u2019s epic has been simplified and modernized in Nolan\u2019s screenplay, the stakes and scale of its storytelling have suffered little corner-cutting: It\u2019s so very big<\/em>, in terms of mythological scope and human consequence, not to mention the sheer volume of incident stuffed into it, as to remind us why other, less intrepid filmmakers have stayed away. <\/p>\n

\n\tBut if this \u201cOdyssey\u201d is consistently involving and frequently dazzling, it\u2019s never exactly moving; it keeps the eyes and ears so lavishly occupied, while engaging the mind with its structural games of cat\u2019s cradle, you almost don\u2019t notice, or mind, that your heart isn\u2019t quite in it. Almost. \u201cThe Odyssey\u201d stirs on a scene-to-scene basis, as its haplessly drifting hero\u2019s long-awaited homecoming is repeatedly waylaid with any number of cruel obstacles, proceeding with the frustrating, inexorable tension of a bad dream. (Here\u2019s a film that, if not for its famous provenance, could fittingly wear the title \u201cOne Battle After Another.\u201d) <\/p>\n

\n\tWhere it holds our sympathies, that\u2019s in large part thanks to the inspired casting of Matt Damon, the unassuming but sturdily capable everyman of contemporary American cinema, as the endlessly thwarted Odysseus, king of Ithaca and conqueror of Troy \u2014 there\u2019s a crushed, grizzled sadness to his countenance, and even to his otherwise strapping physique, that cuts an altogether more poignant figure than Kirk Douglas\u2019 lean, hungry warrior in 1954\u2019s rather more condensed \u201cUlysses.\u201d Time has collapsed, and so has he, in the increasingly unmarked years following his already long Trojan War stint. Some viewers may feel that chronological stretch blunted by Nolan and editor Jennifer Lame\u2019s repeated structural switching and circling, which leaves the film, especially in its more frenzied first half, almost without a present tense. But it proves an effective way of channeling our hero\u2019s own bleary disorientation, his sense of being ceaselessly buffeted by the elements, the tides and the whims of the gods. <\/p>\n

Read more The Box Office Bounces Back: Gen Z, Surprise Hits and More Have Hollywood Banking on a $10 Billion Year<\/a><\/p>\n

\n\tYet if we care in the moment for his survival, it\u2019s harder to summon as much feeling for his return, to a kingdom where his wife Penelope (Anne Hathaway, stoic but tremulous) and son Telemachus (an over-callow Tom Holland) are barely holding down the fort, fending off the aggressive advances of scheming suitor Antinous, lasciviously played by Robert Pattinson as an outright pantomime villain. Nolan\u2019s writing is sharper and more surprising on matters of honor and betrayal among men than it is on more vaguely outlined family relations: It says much for a superb John Leguizamo\u2019s frail, quavering but staunchly upstanding performance as Odysseus\u2019 blind servant Eumaeus that his patient pining for his master is the film\u2019s most palpably felt emotion.<\/p>\n

\n\tFor better or worse, however, \u201cThe Odyssey\u201d impresses most at its most nakedly, viscerally spectacular \u2014 those scenes in its episodic shuffle that showcase the lurid showman in Nolan above all. The near-capture of Odysseus\u2019 army by the giant cyclops Polyphemus (somehow played, with brain-melting digital assistance, by Bill Irwin) is realized with riotous, shrieking monster-movie gusto, only slightly tempered by an aftertaste of compassion for the beast. Another extended sequence of surreal peril, as the men fall under the literal spell of predatory enchantress Circe, is as strange and darkly, hilariously sensual as anything Nolan has ever directed, galvanized by a raw, wily, volatile Samantha Morton, giving the film\u2019s most indelible performance. And the Trojan Horse sequence, delivered after a teasing setup involving Elliot Page\u2019s tersely vulnerable sacrificial soldier Sinon, is as rousing and as funny as you\u2019d hope.<\/p>\n

\n\t\u201cThe Odyssey\u201d is a veritable banquet, then, of such loud, grandiose, movie-<\/em>movie pleasures, so brashly, confidently lavish that it can afford to throw away a significant portion of its all-star cast on lily-gilding cameos. (Zendaya arguably gets least the least to do here as a recurring vision of Athena, though costume designer Ellen Mirojnick\u2019s starkly beautiful goddess gowns are no afterthought; even in a fraught dual role as sisters Helen and Clytemnestra, one wishes for more of Lupita Nyong\u2019o, though the characters\u2019 conception makes a nonsense of the right-wing culture war declared over her casting.) Viewed in IMAX, in particular, Hoyte van Hoytema\u2019s burnt, bleached, sprawling vistas of sand, scrub and sea invite actual awe; ditto the deep electro-orchestral throb of Ludwig G\u00f6ransson\u2019s score. There\u2019s so much to feel here at a sensory level that the film gets away with its slightly aloof, soul-skirting chill; we leave it feeling that we\u2019ve<\/em> been to hell and back, and exhilaratingly so.<\/p>\n

Read more \u2018The Batman 2\u2019 Delayed Again to February 2028; Matt Reeves Drops First Camera Test Footage of Robert Pattinson\u2019s Return<\/a><\/p>\n<\/div>\n<\/div>\n

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\t\t\u2018The Odyssey\u2019 Review: In Christopher Nolan\u2019s Vast, Thrilling, Slightly Aloof Epic, Homer Is Where the Heart Is Not<\/p>\n<\/h2>\n

\n

\t\tReviewed at BFI IMAX, London, July 3, 2026. MPA Rating: R. Running time: 173 MIN.<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \nA Universal Pictures presentation of a Syncopy production. Producers: Christopher Nolan, Emma Thomas. Executive producer: Thomas Hayslip.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector, screenplay; Christopher Nolan, based on Homer’s ‘Odyssey.’ Camera: Hoyte van Hoytema. Editor: Jennifer Lame. Music: Ludwig G\u00f6ransson.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nMatt Damon, Anne Hathaway, Tom Holland, Robert Pattinson, Charlize Theron, John Leguizamo, Himesh Patel, Lupita Nyong’o, Elliot Page, Samantha Morton, Zendaya, Jon Bernthal, Benny Safdie, Bill Irwin, Corey Hawkins, Mia Goth. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Matt Damon, Anne Hathaway, Tom Holland, Robert Pattinson, Charlize Theron and Zendaya star in Christopher Nolan’s vastly ambitious ‘The Odyssey.’<\/p>\n","protected":false},"author":1,"featured_media":4186,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2845,105,1295,473,474,475],"class_list":["post-4254","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-anne-hathaway","tag-christopher-nolan","tag-matt-damon-2","tag-the-odyssey-2","tag-tom-holland","tag-zendaya"],"yoast_head":"\n\u2018The Odyssey\u2019 Review: In Christopher Nolan\u2019s Vast, Thrilling, Slightly Aloof Epic, Homer Is Where the Heart Is Not - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=4254\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018The Odyssey\u2019 Review: In Christopher Nolan\u2019s Vast, Thrilling, Slightly Aloof Epic, Homer Is Where the Heart Is Not - 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