The Odyssey review – Nolan goes god-tier with breathtaking epic of men, monsters and moral metamorphosis
ONP Summary
Christopher Nolan's film adaptation of Homer's Odyssey launched to projected $90-100 million opening weekend from 3,900 theaters—his largest debut since The Dark Knight Rises. The ambitious 13th film completed ahead of schedule with all four of Nolan's children involved in production, though the casting choices and modern language treatment of the ancient source material drew criticism that Nolan dismissed as irrelev
Progressive:Lifetime artistic vision — Progressive outlets celebrate Nolan's ambitious adaptation as fulfilling his creative ambition while resonating with contemporary global tensions.
Moderate:Commercial spectacle — Centrist coverage emphasizes record opening projections and production efficiency, with Nolan defending cinema's continued evolution.
Conservative:Dismissive arrogance — Conservative outlets criticize Nolan's condescending response to casting and language concerns as tone-deaf disregard for representation.
Doing full justice to the Homeric legend, Christopher Nolan amasses an epic cast to convey the true cost of war with film-making of thrilling ambition
A classicist’s verdict: soulful hero flatters our times as women and nuance pushed overboard
Christopher Nolan reinvents the Homeric legend as a colossal origin-myth story of postwar disillusion, an epic ordeal of anguish witnessed by the dead and presided over by capricious deities who participate on almost equal terms with the humans. It speaks to the generational pain of PTSD; plenty of soldiers come home in person after any war promptly enough, but arriving back to their prewar state emotionally or spiritually can take years or decades and may never happen at all. The invisible odyssey of anguish is punctuated by flashback episodes, hallucinations, confrontations with the arbitrary gods of dysfunction. And all the time the spouses and children cannot move on with their lives.
This is a film with thrilling ambition, boldness, seriousness, generosity and flair. There are some broad-brush moments in the dialogue, yes, but even these are applied with a muscular flourish. It has gasp-inducing, Imax-sized landscapes of loneliness shot by cinematographer Hoyte van Hoytema – who, incidentally, avoids the sea’s traditional cliched colour – and full-tilt battle sequences and fight scenes accompanied by the throbbing and thrumming of drums.
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