The Odyssey: Christopher Nolan’s adaptation of Hómēros’ poem (one of the most famous stories ever told, the origin of many images and ideas still used broadly) is a credible one. It tells the story of a king, husband, and father’s long journey home after the Trojan War; it also shows how his wife and son cope with his absence. Thematically, the film focuses on the traumatic reactions to the horrors of a war, which is a very interesting take. The film is always impressive, but it’s also always rather mechanical and cold; the most emotional moment is the subtle wag of an old dog’s tail.

Acting is uneven: Matt Damon is efficient as Odysseus, a man who carries the weight of his deeds during the war; Anne Hathaway is quite good as his wife, smartly holding on during her long wait; Tom Holland, as their son, feels out of place, even if quite a bit of that issue comes from the way his dialogue is written, making him sound as a contemporary teenager; Robert Pattinson, as the main suitor, a scheming and coward man, has probably the best presence of the cast.

The film looks very good, with outstanding work by production designer Ruth De Jong and costume designer Ellen Mirojnick; director of photography Hoyte van Hoytema captures it all with elegant camerawork. Composer Ludwig Göransson’s musical score, bass- and percussion-heavy, is an unusual but very interesting choice.