CM Review: The Odyssey (2026)

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The Odyssey opened at Lumière Cinemas this week, and after months of bold marketing, expectations were understandably high.

"The movie of my life," declared Matt Damon. Early reactions promised an "epic, audacious cinematic undertaking" and a sweeping, emotionally charged spectacle. With that sort of anticipation, it was difficult not to walk into the cinema expecting something extraordinary.
For me, the first hour was... uncertain.

As the story unfolded, my internal rating slowly slipped from a hopeful 10 to around a 5. 

I found it surprisingly difficult to separate many of the cast from the iconic roles that have made them household names. Tom Holland as Telemachus, Anne Hathaway as Penelope, Zendaya as Athena and, at times, Matt Damon simply felt like Matt Damon.

Visually, some of the cinematography also felt unexpectedly restrained. Perhaps living in New Zealand makes us slightly harder to impress when it comes to sweeping landscapes, but there were moments that almost reminded me of Wainui or the Akaroa Heads rather than the mythological Mediterranean.

Then something changed.

Rather than presenting a straightforward retelling of Odysseus' legendary voyage home, the narrative begins jumping through time. It asks the audience to assemble the story themselves, gradually revealing how seemingly insignificant moments connect to much larger themes. That structure gave the film momentum just as I was beginning to lose interest.

The Cyclops sequence was a perfect example. I found myself questioning certain creative choices while still feeling the genuine panic of being trapped. As the film progressed, references that initially appeared meaningless quietly gained significance, rewarding those who stayed engaged. It isn't Shakespeare, nor is it trying to be.

Interestingly, I kept thinking back to a childhood favourite: Jason and the Argonauts. Many scholars believe Homer drew inspiration from earlier tales of Jason's voyage when crafting Odysseus' adventures, and the similarities are difficult to ignore. Sirens, monstrous sea creatures, animated skeleton warriors and towering stone beasts all evoke echoes of those earlier myths.

Ludwig Göransson's score deserves recognition. While there were moments where I found myself hearing shades of Hans Zimmer's influence, Göransson firmly establishes his own voice, creating a soundtrack that continually elevates the tension and emotional weight of the story.

Odysseus himself is perhaps the film's greatest strength. He is flawed, stubborn and deeply human. By the second half, I found myself genuinely invested in his journey home. Charlize Theron's Calypso adds another intriguing layer, constantly leaving you wondering where the story is heading next.

Bennie Safdie's Agamemnon also leaves an impression, serving as a reminder that success does not always guarantee glory. Choose your companions wisely and, if mythology has taught us anything, perhaps avoid eating pork when visiting strangers.

Ultimately, The Odyssey is a modern fusion of classical literature and contemporary blockbuster filmmaking. Christopher Nolan doesn't quite land every moment, but I found myself enjoying its ambition, its occasional weirdness, its familiar clichés and its unapologetic Hollywood scale.

It may not become one of Nolan's defining masterpieces, but it delivers enough spectacle, mythology and emotional payoff to make the journey worthwhile.

After the credits rolled, the evening concluded with a beautiful walk to Cellar Door — the perfect ending to a night at the cinema.
CM Rating: 7/10.