Magnificent moments in search of an epic story.

When audiences leave The Odyssey, they’ll likely be talking about the Trojan Horse, the Cyclops, the sea monsters, and the breathtaking images Christopher Nolan has conjured for the largest screens imaginable. And rightly so. Few filmmakers working today possess Nolan’s ability to stage spectacle on such an astonishing scale. Yet for all its technical brilliance and jaw-dropping visual achievement, The Odyssey left me admiring its individual moments and technical achievement far more than the story connecting them.

About the film: Odysseus (Matt Damon) embarks on a dangerous voyage back to Ithaca following the Trojan War, encountering treacherous creatures like the Cyclops Polyphemus, Sirens, and the gates of Hades.

While few filmmakers have demonstrated the talent and skill to craft motion pictures on the scale and scope of Nolan’s, many have been able to create motion picture offerings truly deserving of the big screen treatment. But, cinema has become so enamored with spectacle that audiences increasingly mistake scale for storytelling. The two are not synonymous. A breathtaking image may inspire awe, but without dramatic architecture it struggles to resonate beyond the moment it appears on screen.

This is the central irony of Christopher Nolan’s The Odyssey. Adapting the foundational epic of Western storytelling—a tale whose dramatic framework has influenced literature and cinema for nearly three millennia—Nolan delivers some of the most astonishing imagery ever projected onto a movie screen while simultaneously diminishing the very narrative mechanics that made Homer’s poem endure.

Nolan has long challenged conventional storytelling, but innovation alone neither elevates nor diminishes a work of art. The irony here is especially striking because The Odyssey originates from the civilization that gave us many of the dramatic principles still underpinning Western storytelling. Homer didn’t simply tell an adventure; he created the definitive mythic journey—a narrative whose emotional power comes from watching Odysseus endure one impossible trial after another as he struggles home.

Nolan’s adaptation rarely allows that journey to accumulate. Instead, the film drifts between spectacular episodes much as Odysseus himself drifts across the sea. Each sequence is magnificent in isolation, but the nonlinear structure continually interrupts the dramatic momentum needed for the voyage to feel emotionally cumulative.

For viewers already familiar with Homer’s epic, reconstructing the chronology isn’t especially difficult. For those encountering The Odyssey for the first time, however, the film provides surprisingly little connective tissue or narrative context. Rather than deepening the myth, the fragmented structure often obscures it. As odd as it may sound, the 1990s Wishbone adaptation arguably communicates the story’s emotional architecture more effectively.

Some have dismissed my criticism by suggesting I simply dislike nonlinear storytelling. The opposite is true. Some of my favorite films—including Mulholland Drive, Rashomon, Arrival, Pulp Fiction, Memento, and The Godfather Part II—all abandon linear chronology. What unites those films is that their structures reveal character, reinforce theme, or place the audience inside a unique perspective that chronological storytelling could not achieve. Their nonlinear construction enriches the drama.

Here, Nolan primarily uses a nonlinear structure to reorganizes the plot.

That distinction matters, because the result is a film whose storytelling often feels less powerful than its individual scenes. Fortunately, those scenes are truly extraordinary.

One observation from fellow critic Sean Boelman has lingered with me since seeing the film. Sean—who admired The Odyssey far more than I did—suggested that Nolan’s nonlinear structure feels reminiscent of oral storytelling. The more I’ve reflected on that idea, the more I think he’s right. There is a quality to the film that resembles hearing an ancient bard recount Odysseus’ adventures, jumping from one episode to another as memory and emphasis dictate rather than strict chronology.

Where we ultimately diverge is whether that approach serves the medium of cinema. Oral storytelling and visual storytelling are not identical languages. What works around a fire or in the halls of ancient Greece does not necessarily produce the strongest dramatic experience on a movie screen. Cinema possesses tools that oral tradition never could: editing, visual composition, performance, and dramatic pacing that build cumulative emotional momentum. By adopting the rhythms of oral storytelling, Nolan creates an undeniably fascinating interpretation of Homer’s epic, but one that, for me, sacrifices too much of the dramatic architecture that gives the journey its emotional force.

This is what makes The Odyssey such a fascinating film to evaluate. Rarely have I encountered a movie in which spectacle and dramatic architecture diverge so dramatically. As a visual achievement, Nolan’s film ranks among the most impressive epics of the modern era. As a piece of dramatic storytelling, I found it considerably less satisfying.

The Trojan Horse sequence is among the most awe-inspiring moments Nolan has ever filmed. Every set, every landscape, every battle possesses a mythological grandeur rarely seen in modern filmmaking. Watching The Odyssey, I found myself imagining what audiences must have experienced seeing Metropolis or The Ten Commandments for the first time. Those films redefined cinematic scale for their generations. Nolan’s achievement feels similarly monumental.

Which is why The Odyssey absolutely deserves to be seen on the biggest screen available. Whether that’s 70mm IMAX or another premium format matters far less than simply experiencing its overwhelming visual and sonic presentation in a theater. A larger screen won’t solve the screenplay’s structural shortcomings, but it will allow viewers to fully appreciate one of the most ambitious technical achievements of recent years.

Matt Damon anchors the film with quiet confidence, delivering perhaps the strongest performance of the ensemble. He fully inhabits Odysseus, carrying both the physical burden of the journey and the emotional weariness of a man desperate to return home. The remainder of the cast performs capably without leaving much of a lasting impression. Tom Holland never entirely escapes echoes of Peter Parker, Anne Hathaway provides the elegance and composure we’ve come to expect, and Robert Pattinson is surprisingly underutilized. There are no poor performances—only few that linger after the credits.

Ultimately, I suspect The Odyssey will be remembered as one of the year’s biggest cinematic events, and deservedly so. Nolan has once again reminded audiences why epic filmmaking belongs in theaters, where stories of mythic scale can be experienced communally rather than consumed individually at home.

I only wish the storytelling had matched the magnificence of the filmmaking.

For all its extraordinary craftsmanship, The Odyssey left me marveling at its images more than feeling the weight of Odysseus’ journey. In the end, Nolan delivers an unforgettable cinematic experience, but not, for me, an unforgettable telling of Homer’s timeless epic.

Ryan is the morning host on WLRH Public Radio in Huntsville, AL and host of the show  ReelTalk  “where you can enjoy the cinematic conversations frame by frame each week.” Additionally, he is the author of the upcoming film studies book titled Monsters, Madness, and Mayhem: Why People Love Horror. After teaching film studies for over eight years at the University of Tampa, he transitioned from the classroom to public media. He is a member of the Critics Association of Central Florida and Indie Film Critics of America. If you like this article, check out the others and FOLLOW this blog! Follow him on Twitter: RLTerry1 and LetterBoxd: RLTerry