17 July 2026
THE ODYSSEY **1/2
Sorry, I was neither impressed nor moved by this heavily promoted blockbuster by Christopher Nolan.
This is, of course, based on the classic mythical tale by the Greek poet Homer, dating from the 8th century BC, about the struggles of the King of Ithaca, Odysseus (Ulysses in Latin), and his incredible voyage home to his beloved wife Penelope after fighting in the Trojan Wars. His return takes some twenty years, with the saga recounting the extraordinary obstacles he had to overcome in his fervent desire to get home.
Nolan has now taken that monumental piece of literature and made it his latest film. He, the visionary master, already established with such innovative works as “Memento”, “The Dark Knight”, “Dunkirk” (for me, his finest) and “Oppenheimer”.
Yes, it is a big film in many ways – length of almost three hours, filmed entirely in IMAX, the complicated storyline, with top stars as Matt Damon, Anne Hathaway and Tom Holland as the lead characters. The smaller parts go to the likes of Zendaya as the ghostlike goddess Athena, Charlize Theron as the temptress goddess Calypso, and Robert Pattinson as the slimy, persistent suitor of Queen Penelope. Samantha Morton as Circe, the sorceress who turns men into pigs, is fiercely convincing.
Despite a powerful soundtrack that often shakes the cinema during the gory action scenes (the film has an R rating in the U.S.), its depiction of the various CGI-generated monsters that Odysseus encounters seem more like a Disney movie than the grand epic this was meant to be. The dialogue and accents also feel far too colloquial, especially when the Prince (Holland) calls his father “Dad” and his mother “Mum” – quite jarring, and hardly the language of Gods and Kings.
The controversial blind casting of the black actress Lupita Nyong’o as Helen of Troy is a minimal moment and of little importance.
For me, in its genre the film lacks the power, grandeur and clarity of the first “Gladiator” and the brilliant choreography and tragic sweep of “Troy”. Its multitude of characters never feel personal, except for Damon’s interpretation of Odysseus’s longing and desperation to return home, his guilt over the atrocities in the sacking of Troy, and having lost so many of his comrades. Odysseus emerges as the erring, archetypal human figure despite his heroism.
It is certainly a spectacle, though a somewhat flawed and finally tiresome one.
But as critics are snowballing their accolades at the film (and its esteemed director), it may end up a major contender at the Oscars.
THE VERBIER MUSIC FESTIVAL – JULY 16 – AUGUST 2
Once again, there’s music in the hills, or rather the mountains!
Among the prestigious classical artists appearing in Verbier this year are:
EVGENY KISSIN, SIR SIMON RATTLE, JOSHUA BELL, MAO FUJITA, MARTHA ARGERICH, MISHA MAISKY, GÁBOR TAKÁCS-NAGY, KHATIA BUNIATISHVILI and many more.
If that stellar lineup and their glorious composers don’t tempt you, there is also the UNLTD section offering music without limits; a program for children called VF KIDS; lighter entertainment at the Cinéma de Verbier; and a 100 masterclasses, free to attend, which bring together promising young musicians with great masters of classical music who try to fine tune their talents.
The whole festival is a marvelous, relaxed celebration of music in green mountain surroundings. Look up their various offerings on the festival’s website.
Superb **** Very Good *** Good ** Mediocre * Miserable – no stars
By Neptune
Neptune Ravar Ingwersen reviews film extensively for publications in Switzerland. She views 4 to 8 films a week and her aim is to sort the wheat from the chaff for readers.
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