THE ODYSSEY (Christopher Nolan, 2026)
Christopher Nolan’s films just keep on getting bigger. They work as spectacles to the point that how the actors perform and what they say is becoming of secondary importance. I fully expect audacious free adaption of Homer’s The Odyssey to win numerous Oscars in 2027 but, unlike the equally brilliant Oppenheimer, this is not a film which depends on riveting central performances. The bearded Matt Damon is serviceable as Odysseus but his portrayal relies more on reacting that acting. The same could also be said of the rest of the cast. It’s the set pieces you remember rather than any nuanced delivery of profound dialogues.
Although this is modern cinema at its most staggeringly huge, it is epic filmmaking which is not without president. Cecil B. DeMille’s biblical epic, The Ten Commandments (1923) and Ben-Hur (1959) directed by William Wyler are two other examples. It’s the monumental scale and state of the art technical sophistication that takes Nolan’s vision to a higher level.
Making big films like this is good for keeping the theatrical experience of cinema alive. This really does have to be seen on the big screen rather than on an i-phone. Filmed entirely using unwieldly IMAX 70mm cameras,many critics have recommended that this film must be seen in an imax cinema. This is an elitist position as it pays little regard to the fact that only 41 cinemas around the world are actually screening it in this format.
I have little doubt that seeing the film as Nolan intended is an immersive experience although some viewers have complained that the loud soundtrack is even more overwhelming to the point that it drowns out the dialogue. Personally, I like the full-on effect this gives and both films easier to follow than many mumblecore movies.
With an eye-watering cost of $250 million to produce and an additional $125 million spent on marketing, some could see this as a high-risk venture but let’s not forget that this is Christopher ‘fucking’ Nolan. Unlike the tired superhero franchises, this doesn’t strike me as a cash-in project. The ambition behind it is personal rather than being fired by corporate interests. Success is already assured and the universal acclaim ensures that is that rare beast – a high-stakes critical and commercial achievement.
Paradoxically, for all the breath-taking visuals on display, the most memorable scene is due to exceptional acting rather than the special effects. Samantha Morton’s brilliant portrayal as the sorceress Circe comes in a sequence that only lasts about 10 minutes but has been justifiably praised as the highpoint of the film. This show-stopping performance could also make the case for having more English actors in the cast of Nolan’s film. Perhaps this will generate a spin-off movie based on Madeline Millar’s brilliant Circe novel . If Morton is the starring role then you won’t need the same budget of Imax filming. I’d be first in line to see this.
Up till now there has been plenty to celebrate in the movies of Christopher Nolan. With his redefining of Batman as The Dark Knight and visually striking films like Dunkirk, Interstellar and Inception he has established himself as a director whose films are made to be appreciated on the big screen. Streaming may provide the same information, but the spectacle is lost.
Should we stay or should we go?
Dark times require dark heroes and villains.
