Christopher Nolan’s highly anticipated three-hour adaptation of Homer’s epic poem, Odyssey, held its world premiere in London this past Monday. Early screenings in the United States and the London event have prompted a wave of positive responses, with critics labeling the historical epic a strong contender for best picture at the Oscars.
Guardian critic Peter Bradshaw described the movie as a “colossal origin-myth story of postwar disillusion and a loss of innocence witnessed by the dead.” Meanwhile, IndieWire editor-at-large Anne Thompson identified it as the frontrunner for best picture, suggesting that Matt Damon could be a top contender for the best actor award. She further described the production as “stunningly mounted” and noted that it surpassed her high expectations.
Many pundits have labeled the film “flawless” and “breathtaking.” Erik Davis praised it as a “crowning cinematic achievement” from Nolan, noting that the filmmaker’s work with Imax cameras has culminated in this project. While the film was shot entirely in large-format Imax, it will also be available in non-Imax theaters. Davis highlighted the film’s production design and scale, adding that the director’s embrace of horror elements creates genuinely unsettling moments that add depth to the human core of the narrative.
The ensemble cast also received significant acclaim. Davis noted that while Anne Hathaway and Matt Damon were excellent and Tom Holland proved his versatility, Robert Pattinson’s performance as the villainous Antinous “stole the show.” He described Pattinson’s portrayal as conniving and manipulative, marking it as one of the actor’s best performances. Classical historian Tom Holland, unrelated to the star, also lauded the film on X, calling it the finest cinematic adaptation of a Greek myth he has ever seen for its ability to honor Homer while creating something entirely new.
Not all feedback was entirely without reservation; while Matt Neglia hailed the set-pieces as a massive achievement, IndieWire’s David Ehrlich remarked that the film felt “too clunky to be S-tier Nolan,” though he noted the final act effectively rewards the audience. Ehrlich also observed that the film felt more “natural” and less despairing than Nolan’s 2023 hit, Oppenheimer.
With an estimated budget of $250m, the film is expected to require a global box office return of at least $500m to break even. Market indicators remain positive, supported by a general resurgence in cinema attendance driven by recent blockbusters like Toy Story 5 and smaller-budget successes such as Backrooms and Obsession. The official reviews embargo is set to lift next Wednesday, ahead of the film’s worldwide release next Friday.
