Movie Review: ‘The Odyssey’

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Review by Adam Courtliff

Christopher Nolan has rightfully solidified his legacy among the greatest working directors on the planet. His films have become more of a cinematic event with every new release and that’s no different with his latest project, The Odyssey, which infamously sold out advance screenings a full year before release. With such hysteria surrounding his adaptation of arguably the most famous tale in Greek mythology, lesser filmmakers would likely crumble under the immense pressure, but yet again Nolan has delivered a technical marvel that you can scarcely believe is actually real.

Nolan’s adaptation of The Odyssey follows a non linear timeline in retelling the story of Odysseus (Matt Damon) aftermath the Trojan War. What should have been a straightforward voyage home to Ithaca and his wife Penelope (Anne Hathaway) instead becomes an eight year test of endurance as Odysseus battles mythical creatures, treacherous seas and the wrath of the gods themselves. Wearied by war and haunted by the mental toll of his own actions, his fight to return home is far from over.

All the while in Ithaca, the scheming of those hoping to claim Odysseus’ throne and Penelope’s hand in marriage is in full swing, with the slimy Antinous (Robert Pattinson) at the front of the queue. As hope of his father’s return continues to fade, Telemachus (Tom Holland) is forced to come of age far sooner than expected, embarking on a journey of his own to discover once and for all what became of his father.

Nolan’s adaptation of the legendary Greek tale takes a slow, methodical approach to world building, allowing audiences time to immerse themselves in Nolan’s vision he has created while becoming invested in the various character arcs. That approach won’t be for everyone. In fact, for some, it will likely prove to be the point of no return as it admittedly takes a while to find its stride. Once it does, though, it enters a flow state that is rarely seen, with only one other film this year even coming close to matching what it achieves once everything clicks into place.

Nolan’s writing balances quieter moments of compelling dialogue and verbal jousts alongside some of the most captivating hand-to-hand action sequences you’re likely to see this year. That’s aided by his decision to avoid a traditional linear timeline, instead feeding the audience breadcrumbs that allow them to piece the story together. The plotting, backstabbing, conniving and conspiring between the film’s key players unfolds like one giant game of chess played before your very eyes.

Taking on a tale as renowned as The Odyssey was never going to be easy, and despite his illustrious career, as pointed out by his own son, Christopher Nolan is yet to win that elusive Academy Award for his writing. That may be about to change. By taking a similar approach to how he constructed his last epic in Oppenheimer, the film’s slow burn ensures the various plot threads maintain a constant stranglehold over the audience through their gripping and intriguing themes, all while building towards a third act crescendo powerful enough to make audiences levitate into the clouds alongside Zeus himself.

The technical aspects of the film rank among the finest ever committed to the screen. It all starts with Hoyte van Hoytema’s cinematography, which squeezes every last ounce out of the IMAX cameras to produce some of the most breathtaking imagery of the decade. There are multiple moments where, if you could freeze the frame, you’d be greeted with a shot that wouldn’t look out of place hanging in the Louvre.

Then there’s the astonishing practical effects that Nolan insists on incorporating into each of his films. Here, they reach an entirely new level. Whether it’s the 60ft animatronic Cyclops, which looks remarkably lifelike and utterly terrifying rolled into one, or the utilisation of a real full scale wooden ship battling through rough seas, if you didn’t witness it unfolding with your own eyes, you’d struggle to believe something like this was even possible. Somehow, Nolan has done it again.

Much has been said about the use of the IMAX cameras and their infamous three minute window before requiring a film change. Capturing a near three hour epic under those circumstances is bound to be an editor’s nightmare. I find it hard enough editing a two minute TikTok video, let alone a feature length film. Jennifer Lame was tasked with this mammoth undertaking and has delivered an extraordinary piece of editing. Despite the non linear narrative, everything moves seamlessly, never once feeling clunky, which is a real testament to the quality of her work.

The sound design is undoubtedly among the film’s greatest strengths. Whether it’s swords crashing against armour, arrows slicing through the air or waves colliding with the hulls of the ships, every single element has been meticulously crafted to maximise immersion. There are several scenes where the sound reverberates around the auditorium, sending shivers racing down your spine as the sheer scale of what you’re witnessing threatens to become overwhelming for all the right reasons.

On top of the remarkable sound design, Ludwig Göransson delivers yet another electrifying score, further cementing himself as one of, if not the greatest composer working in the industry today. He has crafted music that elevates almost every scene, perfectly matching the varying emotions and intensity on display throughout the runtime. After already delivering a standout score earlier this year in The Mandalorian and Grogu, easily the strongest aspect of that film, it should come as no surprise that his work here may well be his crowning achievement. For a three time Academy Award winner, adding another Oscar to his collection feels all but inevitable.

The costumes have been a hot topic of conversation ever since the first trailer was released almost seven months ago. Debate has ensued over the historical accuracy of what Nolan and costume designer Ellen Mirojnick ultimately opted for, but it’s yet another decision they’ve got right. The battle attire of both the Greeks and Trojans is superb, but the real standout is the extraordinary armour worn by the Laestrygonians. The remaining costumes, while less extravagant, never become a distraction as some would have you believe, instead serving as another effective tool for immersing audiences in the time period.

Much of the pre release discussion has centred around the four main stars in Anne Hathaway, Matt Damon, Tom Holland and Robert Pattinson, and rightfully so. Damon, in the leading role, captures all of the troubled complexities of a battle hardened Odysseus with complete conviction. Tom Holland delivers the best performance of his career in his most mature and demanding role to date. Anne Hathaway, who for much of the first half is largely kept on the sidelines, truly comes alive in the second half, showcasing the full extent of her range and leaving a lasting impression long after the credits roll. Robert Pattinson, meanwhile, continues his outstanding run of form with yet another stellar performance.

As performances go, though, it’s the exceptionally stacked supporting cast where some of the biggest surprises are found. Himesh Patel, in a pivotal role, despite what the marketing may have you believe, is given enough screen time to deliver a genuinely moving and quietly powerful performance as Odysseus’ second in command. Samantha Morton, despite her brief appearance, is utterly captivating and genuinely unsettling as Circe. But it’s John Leguizamo who arguably takes centre stage, making the film’s more emotionally poignant moments entirely his own and stealing more than a few scenes in which he appears.

As for the rest of the cast, as many have already attested to, it doesn’t matter how much or how little screen time you’re given, Christopher Nolan will make the absolute most of it. That’s particularly evident with Elliot Page, who despite only appearing briefly outside of the opening scene, is involved in one of the film’s most gripping dialogue driven exchanges that will live long in the memory. The same can be said for Jon Bernthal, Zendaya and even Mia Goth, all of whom deliver committed performances that ensure the quieter moments never lose momentum.

Overall, despite some extremely minor pacing issues in the first act, The Odyssey feels like a once in a generation cinematic event that celebrates the magic that some of the most talented people on the planet can create when working towards a common goal. The word masterpiece is bandied about far too often for my liking these days, but it genuinely feels like the only word that fits. What Christopher Nolan has crafted isn’t just a defining cinematic achievement of the century, it’s the kind of film that reminds you exactly why cinema remains such a powerful medium. This isn’t simply another blockbuster. It’s exactly the kind of cinematic event that only Christopher Nolan seems capable of delivering time after time.