Film Review: ‘The Odyssey’ is a Masterful Mix of Old and New On An Epic Scale from Christopher Nolan

At this point, it’s fair to say that no one is doing must see cinema like Christopher Nolan. The way he makes films for the theatrical experience, whether it’s his use of IMAX technology, or just the size and scope of his productions, is now truly singular. You don’t even have to be a fan of his movies to appreciate how he helps to fuel the health of the medium. With The Odyssey, arguably his biggest blank check project to date, he’s making another big ask of his audience. A massive, nearly three hour adaptation of Homer? On the surface, this is the sort of flick that an auteur falls flat on their face making. Then, again, Oppenheimer was a big ask, given that it was a three hour biopic of J. Robert Oppenheimer, and that won Best Picture, as well as Best Director for Nolan. So, he already gets the benefit of the doubt. Now, having seen the final product, in glorious IMAX 70mm, I can report that this is not only a wild success, it’s also one of Nolan’s best films to date, as well as 2026’s top titles, overall.

The Odyssey is a movie with a capital M. The epic nature of it is apparent in every frame, from the compositions and sets to the massive A-list cast. The masterful way that Nolan is conducting this orchestra is a sight to behold. Action-packed, dramatic, and even a bit moving, it’s incredibly satisfying. This is why you go to a theater. Nolan is able to whisk you away to the end of the Trojan War, remixing a bedrock of Greek literature into something both classical and timeless, while always feeling welcomingly modern. It’s, simply put, a masterwork.

This is, obviously, Nolan’s take on Homer’s epic poem, The Odyssey. To go over the plot, beat for beat, would be silly, as nearly everyone has had to read it in school at some point, but I’ll hit the beats you should know going in. We follow Odysseus (Matt Damon), the Greek king of Ithaca and a respected soldier, in the aftermath of the Trojan War. Tasked by Agamemnon (Benny Safdie), the king of Mycenae, to lead his best troops into battle, he leaves his newborn son and wife Penelope (Anne Hathaway), unsure of his return. Masterminding the end to the war after years of stagnation by constructing a giant hollow wooden horse, concealing his warriors inside, and presenting it to the Trojans as the gift. Once led inside the city walls, they quickly and brutally conquer Troy. Then begins his long and perilous journey home. In the years since and to come, his son Telemachus (Tom Holland) has grown up and his castle overrun with gluttonous suitors for Penelope, believing Odysseus to be dead. Few allies are left, mainly his loyal servant Eumaeus (John Leguizamo), and one suitor, Antinous (Robert Pattinson), has decided that he’ll have Penelope’s hand, by any means necessary.

As Odysseus and his crew encounter mythical beings such as the Cyclops Polyphemus (Bill Irwin), the witch Circe (Samantha Morton), Sirens who seek to lead them to their death, and the nymph Calypso (Charlize Theron), the numbers dwindle, as well as support for his cause. In particular, second-in-command Eurylochus (Hamesh Patel) begins to consider rallying the men to defy Odysseus. At the same time, Telemachus goes on his own dangerous journey, seeking out information on his father from the king of Sparta, Menelaus (Jon Bernthal), and his wife, Helen of Troy (Lupita Nyong’o). That move causes Antinous to decide that the prince must be killed, adding a ticking clock to Odysseus’ quest.

Matt Damon leads an all-star cast without a weak link in the chain. His depiction of a clever, largely kind, and wily politician/soldier who slowly comes to be haunted by his actions is quite compelling. The toll that war takes on him, be it the savagery he sees or the men he loses, just becomes more fuel for him to get home to his family. It’s an incredibly strong performance, though it’s a matter of personal preference who winds up as best in show for you. Damon is excellent, while John Leguizamo has never been better as the loyal blind servant. His dedication to the dog Odysseus rescued, who now has lived years past expectations, just to see his master again, is heartbreaking. Leguizamo is a highlight whenever he’s on the screen here. Tom Holland mixes the youth of his prince with an already world weariness that makes his eventual arc incredibly satisfying. Holland isn’t given dramatic weight like this enough and really makes the most of it. Robert Pattinson gets to be an oily villain, cloaked in a sheen that hides his true motivations. Pattinson is relishing the role and really enjoying it, too. Anne Hathaway and Holland have some strong scenes together, as she gets a real meaty role, the longer time goes on. Then, there’s Samantha Morton, who has the least screen time of the top performers, and yet is as good as any, if not better. A scene with her and Odysseus, after her powers are revealed (in a real horror tinged sequence), is stunning. Morton helps take a bit of a tonal shift in the film and make it a real highlight. In addition to the aforementioned Jon Bernathal, Bill Irwin, Lupita Nyong’o, Hamesh Patel, Benny Safdie, and Charize Theron, all of whom are strong in small parts, the rest of the supporting cast is no less star studded. There’s Zendaya, Jovan Adepo, Mia Goth, Corey Hawkins, Will Yun Lee, Logan Marshall-Green, Elliot Page, James Remar, and Travis Scott, plus plenty more. This is one of the best massive ensembles since, well, Oppenheimer.

Christopher Nolan writes and directs this epic with not just a supreme confidence, but also a love for creating a memorable cinematic experience. Shooting entirely on IMAX cameras and on 70mm film, he and cinematographer Hoyte van Hoytema are feasting on the possibilites. Every shot of The Odyssey can take your breath away. Nolan and van Hoytema are truly able to transport you inside the Greek myth. The pacing, at nearly three hours, is incredibly strong, with editor Jennifer Lame never allowing the rhythm of the film to wain. The score is outstanding as well, as composer Ludwig Göransson continues to outdo himself, helping to keep you on the edge of your seat. They all combine flawlessly with Nolan’s direction to have the look, feel, and sound of the flick be impeccable. As for the screenplay, Nolan’s adaptation is also a wild success, utilizing modern dialogue in a manner that’s not the least distracting. The movie adapts freely, yet clearly with admiration, resulting in a supreme triumph for all involved.

Awards wise, The Odyssey is looking at double digit nominations, almost without question. Over a dozen citations are fairly easily attainable, too. Look for Best Picture, Best Director (for Nolan), Best Adapted Screenplay (also for Nolan), and pretty much every technical category, save for Best Original Song, to be in play. In many, the win is very much a strong possibility, too, though it’s too early to make any bold statements there. Then, there’s the acting fields, where a strong showing would really do a lot to make the film into a potential frontrunner. Best Actor (for Damon), Best Supporting Actor (for Holland, Leguizamo, and/or Pattinson), and Best Supporting Actress (for Hathaway and/or Morton) are certainly more potential nominations to consider. However you slice it, the movie is looking like an Oscar juggernaut.

The Odyssey is a cinematic achievement, full stop. Seeing it in IMAX 70mm if possible is the absolute ideal way, but however you experience this flick in theaters, you’re in for a treat. It’s a masterful work from an undisputed master, working at the height of his powers. This is one of the best films of the year, one of the biggest, and sure to be one of the most memorable. Nolan has done it again, but at this point, should you even be surprised?

SCORE: ★★★★