The Odyssey (2026)

An epic tale requiring an epic runtime. A non-linear narrative structure. A cast more stacked than the latest attempt from Marvel to win back their fanbase. It must be a Christopher Nolan movie. 

When it comes to classic tales of heroism and overcoming overwhelming odds, it's hard to understate the enduring impact of the hefty poetic work by Homer, one of the oldest surviving works of literature. If you're ever stuck on a desert island then you just need this book, The Bible, and the works of Shakespeare, and you have the seeds of every main story ever told

I'm not going to insult people by providing a summary of the plot. Nor will I work through each individual cast member. It's enough to say that Matt Damon is our flawed hero, Odysseus, trying to return home to his wife, Penelope (Anne Hathaway), and son, Telemachus (Tom Holland), while many suitors hope that he remains absent, allowing them to compete for his wife, and the throne. There are various monsters, a big wooden horse, and an incursion into the city of Troy. 

I have never professed to being one of those people who absolutely loves everything that Nolan has directed. There's no denying, however, that he makes films that get people believing they need to get along to see them on the big screen. To help with his obsession, he has managed to make this the first film shot entirely on IMAX 70mm cameras, which should be appreciated by the relatively small amount of the population able to get themselves along to a proper IMAX screen. Nolan does two things very well: intelligence and spectacle. The Odyssey has those elements in place, and also has a decent amount of heart.

I admit to being worried when I saw the opening line of text stating "In a time of apparent magic...". I assumed that Nolan would be using that phrasing to avoid presenting a world overshadowed by gods and monsters, which is something I think is inherent to The Odyssey. That wasn't the case though. Yes, this is a bit more grounded in some ways (you don't see gods moving pieces around a board as you might in some classic adventure movies from yesteryear), but you get everything that should be here, from a cyclops to a dangerous beast picking off passing sailors, from a powerful witch to deadly sirens. There are giant warriors, there are prophecies delivered by the dead, and there's at least one nymph happy to keep someone captive and feed them amnesia-inducing lotus flowers. There are also a lot of human moments though, which all works in tandem with the more fantastical and spectacular moments. Odysseus MUST get home to his loved ones. Penelope has held out hope for his return over many difficult years. Telemachus can barely restrain himself from upsetting and fighting the suitors, and the half-blind Eumaeus (John Leguizamo) does everything he can to keep the household ready for his master's return.

Nobody here is mis-cast. Nobody. I was most worried about young Tom Holland in his role, but his role requires him to still convey the emotions and inexperience of a young boy pining for his lost father, and he works brilliantly in the role. Damon is superb, particularly impressive in the sequence that shows him dealing with the song of the sirens (as well as the entire third act), Hathaway gets to play arguably the best female character that Nolan has included in any of his films, and Leguizamo is only equalled by Samantha Morton when it comes to supporting cast members delivering career-best moments. Robert Pattinson is delightfully snide and villainous, Jon Bernthal is surprisingly impressive, and there are also excellent supporting turns from Himesh Patel, Corey Hawkins, Lupita Nyong'o, Logan Marshall-Green, Ryan Hurst, Elliot Page, Andrew Howard, and many others.

There may be one or two very minor complaints, I didn't even really process the score from Ludwig Göransson while immersed in the spectacle (although I have been listening to it over the past few days, and it's quite wonderful and a worthy companion to the visuals) and I do think the character played by Theron felt slightly mishandled, so I am happy for now to rate this as highly as I rate my other favourite Nolan movies. At his best, Noland matches his own desire for spectacular film-making with a knowledge of what audiences will want to see. He does that here, a number of times, and also makes use of the non-linear structure to tease us all on the way to a climax that has at least two incredible, and yet incredibly different in scale, set-pieces. It's hard to think of how he will top this (I suggest either Gulliver's Travels or a dark Jack The Ripper movie would be the way forward, personally), but he doesn't really need to. He could rest on his laurels now and rest safe in the knowledge that he's already an established cinematic great to so many.

That includes me. Even if I've yet to give one of his films a perfect score. There's either something just holding them back from being absolutely perfect, or I may need to revisit his entire filmography one day with the idea of reconsidering why I've been reticent to just agree with so many others and overlook some minor flaws. 

9/10

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The Drama (2026)

While there were moments in The Drama that I enjoyed, I am sad to say that it mainly left me cold. Not only that, I didn't think either Zendaya or Robert Pattinson were on top form. 

Written and directed by Kristoffer Borgli, who gave us the wonderful Dream Scenario, this is a film about a few different things. Emma (Zendaya) and Charlie (Pattinson) are due to get married. Things are seriously derailed, however, when they're encouraged by Rachel (Alana Haim) and Mike (Mamoudou Athie) to confess the worst thing that they've ever done. Everyone has made mistakes in their past, but it seems as if some mistakes are easier to forgive than others. Something is revealed that changes everyone present, and it may even lead to the whole wedding being called off.

There's something here that could have worked well, especially when looking at how people can react when learning something new about a loved one, but it's all overshadowed by the fact that the main revelation feels like something Borgli used purely because of the shock value. The best moments in the film juxtapose imagination with the reality of wedding preparation, and there are some laughs created by the editing and dialogue, but there could, and probably should, have been much more done with such weighty subject matter. Or maybe things should have revolved around something else entirely.

Pattinson is occasionally amusing when looking so dazed for most of the runtime, so at least he gets to benefit from the material in that way, but he doesn't feel believable in so many other ways. Zendaya never really feels believable at all, especially when you consider just how literally anyone would accept the challenge of "tell the worst thing you ever did" without considering the consequences. Haim gets the best moments, but her performance is undermined by her character trying to maintain the moral high ground after confessing her own awfulness (which I understand, that's one of the points being made, but it still doesn't help her), and Athie is good, but a bit underused. Hailey Gates makes a strong impression in her small role, Sydney Lemmon does well portraying a potential wedding DJ, Jeremy Levick is very funny as another potential wedding DJ, and Zoë Winters provides perhaps the best moments in the whole film as a wedding photographer trying to work with two people who are far from enthusiastically smiling subjects.

I really wanted to like this, considering how much I have enjoyed the leads in other features, and how much I liked the previous film from Borgli, but it just couldn't find the right path through some tricky terrain. Again, as I have said about one or two other movies in recent years, nothing is off limits when it comes to good and thought-provoking art, but you need to shoulder some extra responsibility when it comes to certain topics, whether you're trying to be serious or mine some very dark comedy from things.

Everything is decidedly okay, superficially anyway, but this needed to be much better than okay. Fans of confrontational work always deserve much better than okay.

5/10

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Challengers (2024)

A film all about tennis, except that it’s not really all about tennis. It’s all about sex, obsession, and power. But it’s also about tennis.

Mike Faist and Josh O’Connor play Art and Patrick, two tennis players who used to be very good friends. Their lives have gone in very different directions, however, and now Art is a pro trying to recover his form while Patrick is trying to win enough money to keep himself able to buy non-luxury items, like food. Both end up in a challenger tournament, and both end up playing against one another, observed by Tashi (Zendaya). Tasha is married to Art, but she is also very familiar with Patrick. Things may become messy and complicated, but it’s important to remember that this film is set in a world of tennis . . . where love equals zero.

Written by Justin Kuritzkes, his first major screenplay, this is a vibrant and steamy look at people who are pushing one another in different directions, sometimes for the better and sometimes for the worse. The material is elevated by Luca Gaudagnino’s electric direction, and a strange score from Atticus Ross and Trent Reznor that sometimes fits the visuals, but also sometimes just feels a bit jarring, yet now in a way that spoils the marriage between sight and sound.

The cast also help, absolutely fantastic in roles that allow them to relish being single-minded and fairly unpleasant for most of the runtime. Faist feels like the weakest of the three characters (in his nature, not in his performance), but his journey remains an intriguing one. O’Connor has more hunger in his eyes, although he also has some obvious failings that have held him back over the years. And then there’s Zendaya, casting a large shadow over these two men in a way that they don’t even fully realise until it is too late. Her turn here is wonderfully gritty and dispassionate, portraying someone who has decided to put all of her energy and effort into the career of someone else after her own dream came to a very sudden end.

Told in a non-chronological way, my main criticism is that there are some time jumps that feel a bit unnecessary, although everything becomes clear as you get used to the structure of the film. It feels like the right way to have done things though, especially by the time we get to a brilliantly satisfying finale. Momentum builds, camerawork is dizzyingly brilliant, and there’s a proper crescendo before everything ends, as should be the way of any great tennis match.

I wouldn’t say this is the best film for anyone involved, apart from Kuritzkes (so far), but it’s very good stuff. It’s sweaty, sexy, strange, and occasionally surprising. It’s certainly one of the best films about tennis that I can think of, despite it not really being about tennis.

8/10

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Dune: Part Two (2024)

The film that fans of Dune: Part One were forced to wait an extra five months to see in cinemas, that delay seems to have done nothing to dampen the enthusiasm of those eager for more visually gorgeous sci-fi on the big screen. It certainly gave me time to FINALLY watch the first instalment and join those who were eagerly awaiting the concluding part of the tale. Except, and I feel it’s important to say this somewhere in this review, this isn’t really a conclusion to the tale. It’s another lengthy chapter, and I was disappointed as the end credits rolled after an ending that didn’t feel like a proper ending. It might be in line with the source material, and there is certainly more to come from Denis Villeneuve working in this world, but that didn’t help me when I was underwhelmed by the way in which things just started to move towards the next part of the epic tale.

I will give a brief, and very poor, summary of the plot. After the events of the first film, Paul Atreides (Tinothée Chalamet) and his pregnant mother, Jessica (Rebecca Ferguson), are living with the desert-dwelling Fremen on the planet of Arrakis. Powerful people still want to destroy the Fremen, all to control the spice and become even more powerful, but Paul may well be the secret weapon that helps to end the ongoing battles. Or he may well cause even more destruction and bloodshed. There are strong bonds forged, and broken, there is a prophecy that many start to doubt, and there is a need to learn how to walk without rhythm in order to stay safe from the giant sandworms.

Although a visual feast from start to finish, as well as an aural feast too (thanks to Hans Zimmer and everyone working in the sound department), Villeneuve and Jon Spaihts have once again done a magnificent job of compressing an epic tome into a digestible and entertaining movie. It has a slightly different tone from part one, mainly due to the fact that we are witnessing Paul exploring his true potential, but it’s often the equal of the first film.

The cast are perfect, as many of them already proved last time around. Both Chalamet and Ferguson get to be a bit stronger and meaner this time, which is an interesting change to their characters, Javier Bardem has a bit more fun in his role, and Zendaya gets to do a lot more than just be some mysterious woman in a vision. Christopher Walken and Florence Pugh are sorely underused, as is the wonderful Léa Seydoux, while the likes of Stellan Skarsgård, Dave Bautista, and Josh Brolin are given just time to stay involved in the ongoing plotting and scheming until Austin Butler comes onscreen and threatens to steal the entire movie away from everyone.

I have less to say about this than I had to say about Dune: Part One, but only because it is so perfectly in line with the groundwork set out a few years ago. Villeneuve is arguably one of the best directors around when it comes to creating an entire world in which to immerse viewers (imagine the worlds we could see if he ever worked alongside Guillermo del Toro), and this is incredible stuff. It’s grandiose, it seems to emanate dry heat from every frame, and the prospect of getting to spend more time in this world is the silver lining to the small cloud that is that non-ending.

Much like the spice featured at the heart of the tale, this is pure and powerful stuff. And that’s without even mentioning how depressingly it parallels events in our reality that have been ongoing for decades. 

8/10

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Prime Time: Dune (2020)

It's a bit of a running joke sometimes, but I tend to mention the fact that I've not yet read the source material in a lot of my movie reviews. Films and books are two very different mediums, of course, but knowledge of one can inform your opinion of the other, which is why I try to let people know the full context of my opinion. And it feels even more important than ever to mention it here, considering how many sci-fi fans seem to love the franchise kick-started by Frank Herbert back in 1965.

With the memory of the 1984 film still looming large in my subconscious, I kept delaying a viewing of this film for as long as I could. The cast seemed good enough, the visuals looked great, and I hadn't yet been disappointed by director Denis Villeneuve. I just couldn't bring myself to give it 2 1/2 hours of my life though. Until I could.

Timothée Chalamet plays Paul Atreides, the son of Lady Jessica Atreides (Rebecca Ferguson) and Duke Leto Atreides (Oscar Isaac). This noble family are sent to the planet Arrakis, a hostile environment that also happens to be the home of the most valuable resource in the universe, spice. Spice makes interstellar travel possible, among other things. Arrakis has some hostile native inhabitants, in the shape of both humanoids and the huge sandworms, but the House of Atreides hope to use diplomacy and respect to make the best of their situation, ignorant to the fact that they have been set up for failure. Aside from the political manoeuvring, Lady Jessica spends time helped Paul develop his power, known as "The Voice", and preparing him to fulfil his prophesied potential.

Adapted for the screen by Villeneuve, Jon Spaihts, and Eric Roth, the latter two with very mixed filmographies that wouldn't necessarily lead you to think of them as first main choices for this, Dune is a dense viewing experience that admirably does enough throughout to keep viewers up to speed with the developing intrigue and treachery. It's part one of two, and that was definitely the right choice. In fact, the more of the source material that comes through in each main scene, the more you realise what a fool's errand poor David Lynch was on when he tried to pack everything into one feature back in the mid-1980s.

Packed with gorgeous visuals from start to finish, Villeneuve makes sure to once again build a completely believable and fully-formed environment for the characters to inhabit. The production design, make up, wardrobe, etc, are all absolutely stunning, and displayed beautifully by cinematographer Greig Fraser, and there's a superb Hans Zimmer score to accompany the flawless visuals.

While Chalamet plays the lead role, it's an extra delight to have the rest of the cast so stacked with great performers and familiar faces. Not that Chalamet is bad, but his character is, certainly in this first half of the tale, a bit weak and passive, for the most part. Ferguson and Isaac are effortlessly impressive though, and they have a couple of reliable advisors/warriors in the shape of Jason Momoa and Josh Brolin (both excellent, the latter disappointingly under-used). Stellan Skarsgård is almost unrecognisable, at first anyway, as the repugnant and cold-blooded Baron Harkonnen, Dave Bautista turns up just long enough to play his nephew, and there are excellent contributions from Chang Chen and Sharon Duncan-Brewster. You also have small roles for Javier Bardem and Zendaya, both playing different Arrakis natives who could end up helping our lead to fulfil his promise.

This is the kind of big-budget sci-fi that fans deserve. It feels more mature and intelligent than the usual mainstream releases, it has been crafted with a real care and attention to detail, and Villeneuve and co. have taken care to punctuate the ethereal and meditative mood with enough livelier set-pieces to ensure that the lengthy runtime doesn't feel like an unendurable slog. Many fans will have already seen this, and been won over by it, but I recommend it to anyone else who has been as hesitant as I was. It's worth your time, and I hope everything comes together for a satisfying concluding instalment.

8/10

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Spider-Man: No Way Home (2021)

If you have made it this long without having Spider-Man: No Way Home spoiled for you then I congratulate you. I'll also try not to spoil anything here, although that makes this review a little bit trickier. I AM going to work on the assumption that most people saw one or two of the trailers, revealing some familiar villains coming back to our screens.

The basic plot concerns Peter Parker/Spiderman (Tom Holland) having quite a miserable time of things, all because of the repercussions from his battle with Mysterio. Everyone knows who he is, and everyone has a view on his actions. Some of them believe the lie fabricated by Mysterio. Some don't. What's worse is that it's not just affecting Peter, but also the ones closest to him. His friend Ned (Jacob Batalon) and his girlfriend, MJ (Zendaya), are guilty by association, which leads to them being unable to get into the colleges they have applied for. Desperate for things to go back to how they were, Peter heads to Dr. Strange (Benedict Cumberbatch) and asks him to cast a spell that will make people forget who he is. The spell goes just a bit wrong, resulting in our universe being invaded by characters who have met other incarnations of Spiderman in other universes.

Director Jon Watts and writers Chris McKenna and Erik Sommers may not have been the only people shepherding this Spiderman through his latest cinematic trilogy, but they have certainly been there for each instalment, helping to maintain the balance of light fun and major peril that our friendly neighbourhood Spiderman has dealt with over the past few years. This is the darkest of the new Spidey films yet, but it still allows plenty of time for humour, and it still incorporates a bright, solid, colour palette for the majority of the runtime. It helps enormously that Holland has a brightness to him that lights the screen further whenever he's not being beaten down by overwhelming odds.

Holland does his best work yet here (in these movies, I'm not talking about his entire career), moving from lighter moments to moments that are all the more heartbreaking because of his vulnerability, and it's hard to imagine what the bigwigs will plan next for the character. They clearly have to keep making the most of having Holland in the role, but this feels like a tough one to top. And yet, somewhat paradoxically, it's far from the best Spiderman movie. It's overlong, it's overstuffed, it's all just a bit overdone, and the third act has to ensure that every single character gets at least one satisfying moment. And the CGI is equally overdone, even if it is generally at a very high standard.

As well as Holland, both Zendaya and Batalon are as good as they have been in the previous movies. Cumberbatch has fun, playing a strong supporting role. And there’s pure joy in seeing the return of characters played by Alfred Molina, Willem Dafoe, Jamie Foxx, Thomas Haden Church, and Rhys Ifans, with each actor appearing to relish the opportunity to give their character a better resolution. Marisa Tomei remains an excellent Aunt May, doing her best to help and protect her nephew as danger crowds around them. And there are at least three other cameos/supporting turns that will have fans enthralled and delighted while the screen is loaded up with one treat upon another.

It’s clear that this has been made with the aim of really pleasing fans of the web-slinger, especially those who have enjoyed every one of his modern cinematic outings. Pretty much every big rumour you already heard about is true, but that doesn’t lessen the impact of every wonderful moment, whether big or small. It’s just a shame that it feels like a bit too much, this is a film that would have worked better split into two. It’s stimulation overload, just barely allowing the quieter, more sombre, moments time to breathe. That doesn’t mean that it’s not great, it just also feels slightly exhausting as you move towards the inevitably super-busy third act.

With great film-making tools comes great responsibility. The people putting this extravaganza together have been very careful to treat the characters with care. They just weren’t quite so careful with the pacing and the excess of visual effects.

8/10

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Ani-MAY-tion: Smallfoot (2018)

Built around a very fun central idea, Smallfoot is an unassuming and entertaining animated feature that makes good use of a decent voice cast (even James Corden suits his role) and a mix of comedic mishaps, nice songs, and the life lessons you usually get from this kind of fare.

Channing Tatum plays Migo, a yeti living happily in with lots of other yetis in their mountaintop community. Everything is done a certain way, according to rules written on various stones, including someone being launched head-first at a gong to start the sun rising (the current holder of this position is Dorgle, Migo's father, and Migo is keen to take over the role). But things change when Migo ends up falling down the mountain and spotting a strange, legendary, creature. A smallfoot (Percy, voiced by James Corden). In a reversal of the way these things are normally done, Migo tries to convince the others of what he saw, and then sets out to get proof.

Do children still hear much about yetis nowadays? I know I was obsessed with these things as a child but it feels as if cryptozoology isn't the fertile ground it used to be. People are so used to not trusting anything put in front of them nowadays because they're all very much aware of camera glitches and photoshop trickery. Years ago we may have had Harry & The Hendersons but nowadays it seems that unknown animals are mostly used in a wide and varied selection of horror movies. Yetis aren't cool, if you'll pardon the expression, and Smallfoot is more endearing because of that.

The more I think about Smallfoot, the more I like it. It would be easy to sneer at it, to dismiss it as a film exactly the same as many others you may have already seen, and enjoyed. But what separates it from many of the other animated releases from recent years is a refreshing feeling that it is wanting to tell a story with humour and heart without necessarily also attempting to be cool and trendy. Yes, there are a couple of scenes making use of modern technology (and Percy is a human who is hoping to fake a yeti sighting in order to boost the ratings for his TV show) but the core message of the film seems to reject the potential misrepresentations and misunderstandings that electronic communication can throw up in favour of just connecting with one another and trying to show that our common traits are much larger in number than our differences.

Based on a work by Sergio Pablos, this is the second animated feature from Karey Kirkpatrick (Over The Hedge is fun, and let's not mention the one live-action film in between, which is an Eddie Murphy vehicle far from his best), who is joined by Jason Reisig (making his debut in a co-director capacity). Kirkpatrick also co-wrote the screenplay with Clare Sera so I will praise both of them for the tone of the film. The visuals are nice and imaginative, especially when showing the daily lives of the yetis, and the pacing is perfect, with the few songs throughout playing long enough to be catchy without going on and on to the point of overstaying their welcome.

Tatum is very good in the lead role, Corden equally so, and there's a solid selection of supporting cast members. Zendaya and Common are two of the main ones, with the latter being a character responsible for maintaining practices that are designed to keep the yetis safe from harm, but you also get Danny DeVito, LeBron James, Gina Rodriguez, and Yara Shahidi.

As far removed from childhood as I am, I'm going to have to buy this soon. And I'll look forward to rewatching it. I may even sing along with the songs. Even if I do sound . . . abominable.

8/10

You can buy it here.
Americans can buy it here.