The Odyssey 2026 Review – The Best Movie I’ve Seen This Year, and It Isn’t Close

I walked out of the theater and just stood in the lobby for a minute. Didn’t check my phone. Didn’t talk to anyone. Just stood there letting it settle. That doesn’t happen to me often anymore, and it happened hard with this one.

Christopher Nolan adapting Homer sounded, on paper, like a guy who’s spent twenty years building increasingly elaborate clocks deciding to build a ship instead. He’s the architect of dreams, the physicist of time, the guy who somehow makes theoretical physics feel like a gut punch. Gods, monsters, a decade lost at sea. None of that screamed “his sandbox” to me going in.

He proved me wrong in the first twenty minutes and never let up.

What This Actually Is

This isn’t a stiff, textbook-accurate retelling that exists just to say it exists. Nolan pulled heavily from Emily Wilson’s 2017 translation, the one that finally let Odysseus be complicated instead of just heroic, and he shot the whole thing on 70mm IMAX film across seven countries: Morocco, Greece, Italy, Scotland, Iceland, Western Sahara, Malta. When Matt Damon’s Odysseus is standing on a real cliff in real wind with real ocean spray hitting him, you feel it in your chest instead of just registering it as a nice shot. There’s a difference, and it’s the difference this whole movie lives on.

The creature work leans on Ray Harryhausen’s legacy in the best way. Practical where it can be, tactile, built so it feels like something actually stood in front of the camera during the shoot. A lot of modern blockbusters have trained me to brace for weightless CGI nonsense the second a monster shows up. I never braced once here.

Damon carries this thing on his back for nearly three hours. He plays Odysseus as a man who’s done things he can’t undo, trying to get home to people who don’t know who he’s become anymore, and there’s a weariness in his face that no amount of makeup could fake. Tom Holland, Zendaya, Robert Pattinson, Anne Hathaway, Charlize Theron, and Lupita Nyong’o round out an ensemble that actually shows up to do the work instead of collecting a check for a weekend of green screen. Every single one of them plays their scenes like they know the whole movie is riding on getting it right, and it shows in every frame they’re in.

Matt Damon as Odysseus

Ludwig Göransson’s score deserves its own paragraph. It doesn’t announce itself the way a lot of modern blockbuster scores do, all bombast with nothing underneath. It builds, it breathes, it knows exactly when to disappear so a scene can just be silent and terrifying. Ludwig has been doing this his entire career and yet still continues to surprise me with everything he does. Simply outstanding.

Why It Hit Me the Way It Did

I’ve spent fifteen years working in guest experience, building worlds meant to make people feel something the second they walk through a gate. So I notice pretty quickly when a film is actually built, brick by brick, versus when it’s coasting on vibes and a marketing budget. The Odyssey is built. Every setpiece earns the one before it, and the scale never feels like showing off for its own sake. It feels like the story demanded that scale and Nolan simply refused to cheat his way around it.

There’s also a structure running underneath all of it that caught me off guard. This whole film is fundamentally about storytelling: who gets to tell the story, what gets left out, what survives ten years of retelling around a fire long after the person who lived it is gone. I’ve spent years building communities around that exact idea, watching a story get passed hand to hand until it belongs to everyone who touched it instead of just the person who started it. Watching Nolan build a three-hour argument about that same idea, using the oldest story in Western literature as his proof, got me somewhere I wasn’t expecting to be gotten. Odysseus isn’t just fighting monsters and gods out here. He’s fighting for which version of himself actually makes it home.

The Verdict

173 minutes, and I didn’t check the time once. That’s rare, and honestly that’s most of the review right there.

Is it perfect? No. There are a couple of stretches where Nolan’s need for everything to click into place works against a myth that was never supposed to be tidy. Homer left gaps on purpose. Nolan can’t always resist filling them. It’s a minor complaint sitting next to everything the film gets right, and it didn’t cost the movie anything with me.

Go see this on the biggest screen your city has. Go this weekend if you haven’t already before people start talking about it and spoiling the beats that need to land cold. This is exactly the kind of thing theaters were built for, and we don’t get many of these anymore.

Best movie I’ve seen this year. Not close.

AJ Hanson

AJ Hanson has been part of games media since 2011, writing, streaming, and ranting about the industry long before it was his job. He runs the Galaxy’s Edge Discord, the go-to community for fans of Disney’s Star Wars parks, and works as Marketing Director for the Virtual Cantina Network, helping produce shows, interviews, and fan events. A lifelong Star Wars fan and unapologetic nerd, AJ’s focus has always been on building spaces where people can connect, argue, and celebrate the things they love without all the corporate gloss.