Vague Visages’ The Odyssey review contains minor spoilers. Christopher Nolan’s 2026 movie features Matt Damon, Tom Holland and Anne Hathaway. Check out the VV home page for more film criticism, movie reviews and film essays.

A face, a fleet, a war, a man, a thought and a trick. Rejoice! Fellow film lovers and “Nolan bros,” the “The Master of Time” sets sail yet again. The setting is Ithaca and the time is in dispute as Greek legend Odysseus (Matt Damon) finds himself in a 10-year state of disassociation and ever-changing landscapes. Director Christopher Nolan proves eager as ever to play with expectations. And, in some ways, that becomes a detriment not only to his craft, but also to the story as Odysseus and his crew struggle in their shared quest to Ithaca after the Trojan War. Nolan’s aesthetic seems overbearing at times in The Odyssey, but the experience never capsizes.

From the get-go, the game is afoot. Soon after ransacking the city of Troy, Odysseus learns the price of basking in one’s own hubris. Punishment comes from Poseidon after the crew’s first port of call when Odysseus tangles with the sea god’s son, Cyclops (Bill Irwin). As notions of merciful justice prove alien, Poseidon’s well-known temper takes center stage. Before long, the ruthless warrior Odysseus finds himself aimless and adrift. Side quests in search of food take him to Aeaea (the island of goats, where the witch Circe prevails) and Telepylus (the land of the cannibalistic Laestrygonians), and also to the domain of haunting Sirens. Each venture proves to be visceral and more horrific than the last. In Odysseus’ encounter with Circe (Samantha Morton), Nolan examines his conscience and angst.

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Back in Ithaca, discord and strife plague the House of Odysseus as dozens of suitors vie for the hand of Odysseus’ wife, Penelope (Anne Hathaway), while insulting his son, Telemachus (Tom Holland), and eating them out of house and home. As the lead instigator Antinous (Robert Pattinson) conspires with Polybus (Corey Hawkins) for Telemachus’ downfall, his duplicitous lover Melantho (Mia Goth) riles the suiters into a frenzy. Winning Penelope’s hand in marriage is easier said than done, for as with all classics, a “wild card” presents itself. Forever his father’s son, Telemachus, aided by the loyal Eumaeus (John Leguizamo), sets sail to resolve whether Odysseus is alive. A breeze of youthful optimism pushes his journey forward to a pivotal encounter with King Menelaus (Jon Bernthal) and the ever-untamable Helen of Troy (Lupita Nyong’o). This is like a calm before the storm as Nolan returns to Odysseus’ timeline and viewers learn about both the physical and mental damage that he endures. This may be where Nolan takes the most license with the tale as he introduces themes that explain Odysseus’ reluctance to go home. While mere mortals toil with tangible obstacles, the protagonist’s solution must come from within. The sea nymph Calypso facilitates Odysseus’ catharsis, but the price tasks his own sanity and Ithica’s morals. 

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To say that casting director John Papsidera once again earns his keep is an understatement. By and large, The Odyssey cast is excellent and stays on point. Fortunately, Hathaway came to play and lives up to Homer’s legacy by shining in her third act soliloquy, complete with “Mama Bear” energy. The American actress commands a scene of theatrical and cultural significance, particularly for women, one that ranks up there with America Ferrera’s portrayal of Gloria in Barbie (2023).

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In the scenes between Bernthal and Holland, their movie star personas take a back seat. Both actors read their lines aptly but don’t do much more than that. Naturally, the notion of Nolan projecting flood lamps on anyone other than himself is out of the question. Oppenheimer (2023) may have resulted in Oscar gold, but actors still need to breathe freely. Bernthal and Holland’s interactions in The Odyssey do not bear contemplation but rather remind of superhero camp through their line deliveries.

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Damon’s lack of ego and “everyman” energy are as present as ever in The Odyssey, which prove to be vital tools in executing Nolan’s vision by sparking real temptation and confrontation between Calypso (Charlize Theron) and Odysseus. Ultimately, theirs proves to be a much more refined version of the relationship between Cobb (Leonardo DiCaprio) and Ariadne (Elliot Page) in Inception (2010). In contrast, the scenes featuring Damon and Theron drag on with their déjà vu focus.

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Nolan’s investment in a 60-foot animatronic puppet, Cyclops (Bill Irwin), reaps great dividends. His team spared no expense in bringing this nightmare fuel to life, right down to a charcoal silhouette and Irwin’s inhuman vocalisms. This naturally plays to type as Damon’s balanced mannerisms intertwine with the practical effects, though Odysseus’s fight with Pattinson’s Antinous, however, proves more revealing of his limitations.

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As with any journey of this magnitude, technological innovations are necessary. One is the creation of a next-generation 70mm film camera. This solves two problems. First, there’s the sound. Audiences can actually hear humans speak clearly in this Nolan film. Secondly, the LCD viewfinder and real time adjustments lend themselves towards creative framing, almost as if one were weaving a tapestry. In turn, parallel cutting between two actors never looked better. This is doubly true if you’re Pattinson and the job entails moving in and out of the frame. His performance rivals that of Mac Liammóir’s Lago in Othello (1951), a man driven by a sickness and malice of his fellow man. However, Pattinson’s scenes with Damon are almost too clean because of Nolan’s new editing style and technology.

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A Best Picture Oscar nomination might not be a certainty for The Odyssey. Nolan’s epic film suffers to a degree from abundant monologuing and editing overkill, yet the elucidation of empathy for Odysseus is where the director shines. However, one might dare say that Nolan has played the empathy card one too many times in his career. Perhaps it’s time to ditch the “keep calm and carry on” mantra and venture into a new genre. The Odyssey is indeed a fun action-adventure film, but die-hard Nolan fans may find themselves questioning the sustainability of generating such high-cost productions.

Peter Bell (@PeterGBell25) is a 2016 Master of Arts – Film Studies graduate of Columbia University School of Arts in New York City. His interests include film history, film theory and film criticism. Ever since watching TCM as a child, Peter has had a passion for film, always trying to add greater context to film for others. His favorite films include Chinatown, Blade Runner, Lawrence of Arabia, A Shot in the Dark and Inception. Peter believes movie theaters are still the optimal forum for film viewing, discussion and discovering fresh perspectives on culture.

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