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If the critical reception for Christopher Nolan's latest blockbuster is any inidication, The Odyssey is looking like an early frontrunner for a slew of awards at next year's Oscars. By and large, the Criticker community has joined the chorus of praise being heaped upon the film, with mini-reviews that salute the work of the actors (particularly Matt Damon and Anne Hatheway), the sound design, the cinematography, and the sheer scale of the project.
Whether you've seen already seen The Odyssey, or you're still waiting on your IMAX tickets, you might be interested in some of the featurettes we've posted on Criticker's YouTube channel.
First, let's step inside the recording sessions and discover how composer Ludwig Göransson searched for a sound inspired by the ancient world, from the delicate tones of the lyre to the powerful voice of the aulos (an ancient double-reed instrument). The musicians also experimented with bronze percussion, gongs, and other unusual sounds to build the film's unique musical identity.
Next, take a different kind of European tour. Instead of working on sound stages, the Odyssey's cast and crew traveled across Greece, Italy, and Iceland, hauling massive IMAX cameras into some of the world's most breathtaking locations. Matt Damon, Zendaya, Anne Hathaway, Robert Pattinson, Himesh Patel, and production designer Ruth De Jong all explain how filming on real locations transformed the experience, and why that authenticity ultimately makes the film feel more believable on screen.
He's a pretty convincing Spider-Man, but do you buy him as Telemachus? In this video, Tom Holland rehearses an important fight sequence on a rocky hill in Italy, offering a look at the choreography, timing, and preparation that go into bringing one of the character's key moments to the screen.
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Recent Mini-Reviews Getting Love
Masters of the Universe is unquestionably a dumb movie. The characters (especially the good guys) are downright stupid. The ridiculous designs & physics all pay homage to the cartoon origins without forcing it to adapt to a modern audience; and here this strategy worked. Pemberton's synth heavy soundtrack featuring Queen's May is great. The colourful world & unashamed toy sales push are fun. The dialogue isn't great & the emotional moment fail to land, but it's not that kind of movie.
Cooper kinda confounds me. I have no illusions about his sometime awkwardness or limited range, but find him impervious to miscasting: I believe him even when I don't. He is every star quarterback and I am the naturally buxom head cheerleader underneath. Dietrich's distance from these archetypes offers interest & amusement & fodder for a thousand gender studies papers & finally an indelible image whose transgressive character comes through viewed as reclamation, as distinguished from submission.
It must be a cultural thing but they always have like light hearted goofabouts wedged between some of the most harrowing violence imaginable and it rules. Punches are louder than gunshots! Every stunt looks like it really hurt.
Reminded me in a lot of ways of Dario Argento's Inferno where maybe it's best to shut your brain off and just watch the director cook. Everything is eroticized including the house, and frankly, at my age I'm ready for some eroticized real estate.
Despite the repetition in the film, each part had enough of something new to keep me intrigued the whole time. Damon and Driver are great, but Comer is really the best part. I think the writing is fantastic in how it shows how our memories can be clouded by our own bias, especially with its different perspectives. My only problems are having to watch the rape scene twice, though that was probably necessary for the third perspective, and that its slower pace leads to a very long run time.
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