Based on Homer’s epic poem, The Odyssey (2026) is written & directed by Christopher Nolan. It stars Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, John Leguizamo, Himesh Patel, Charlize Theron, Zendaya, Logan Marshall-Green, Jon Bernthal, Lupita Nyong’o, Corey Hawkins, Benny Safdie, Ryan Hurst, Elliot Page, Mia Goth, Samantha Morton, Andrew Howard, Jovan Adepo, Josh Stewart, Travis Scott, and Bill Irwin. The film follows Greek general Odysseus (Damon) as he attempts to lead his men home to Ithaca after 10 years fighting in the Trojan War. On this journey, they face an onslaught of mythical monsters and mischievous demi-gods that threaten to annihilate them. Meanwhile in Ithaca, Odysseus’ young son, Telemachus (Holland), is forced to help defend his mother, Penelope (Hathaway), from a cast of shady suitors who lust only for power. 

It comes as little surprise that the film’s performances are top quality, but Nolan’s filmmaking sets it in a league of its own. That leaves two questions: how does it stack up against his previous work, and do his various creative choices land? In classic Nolan fashion, the film is epicly long, which isn’t a trademark of his I particularly enjoy, but it gets a pass considering this is a retelling of THE epic story. It’s impossible not to feel the gargantuan length, but the film is never boring. It’s well-paced, has a variety of big, screen-worthy set pieces, and is told in a somewhat non-linear fashion that keeps the viewer consistently engaged. 

This is another wonderfully watchable film from the director, but not every auteur trademark of his lands, unfortunately. I don’t love that he chooses to cloak a fantasy-heavy story like this in a dark filter. This is seemingly to help ground the otherworldly visuals, but I’m not sure why he equates darkness with realism. I also don’t love that Odysseus’s desire to protect his men, although arguably his main driving force, is undermined by the fact that we don’t really get to know any of them. Sure, guys like Himesh Patel’s first mate character get a notable chunk of focus, but you never actually learn a darn thing about him other than he’s a soldier who really wants to get home, which is the antithesis of a UNIQUE motivation in the context of this movie. 

Although Nolan structures the story in a fresh way, it’s inherently predictable, which is a problem he struggles to fully solve. Even if you don’t know a thing about Homer’s Epic, you’ve likely seen an endless number of films that’ve used it as a basic template. This strips the climax of any true surprises, which is more disappointing than usual considering the required time investment. Films with true longevity are typically less concerned with things like narrative unpredictability, so I imagine the experience will pay dividends with subsequent viewings. It’s clear that the film has a lot of thematic depth, but it just doesn’t have that ‘blow your mind’ factor of some of his previous efforts. This is either disappointing or exciting depending on what excites you about Nolan’s filmmaking. 

Overall, this is another goliath effort from director Christopher Nolan that solidifies his place as the 21st century’s premier filmmaker. The general scale, combined with a herculean commitment to practical effects, makes this an undeniable visual feast, despite my issues with the drab color palette. I personally don’t have a problem with the somewhat modernized dialogue; I left reality at the door when the cyclops showed up. As a production, it’s easily the most ambitious film Nolan’s made, but it fully embraces some of his lesser creative flourishes. Thus, this isn’t one of my favorites of his, but I can fully understand why, for others, it will be. Unless you’re completely turned off by this kind of overly serious storytelling, grab a snack, hit the bathroom beforehand, and see this before it leaves the big screen. I’m not as high on it as some people, but I can see myself liking it more over time. It’s a tentative A- for me.