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Speaker 1: The last time there was this much hupla around a

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Christopher Nolan film, it was Oppenheimer, which cleaned up at

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the Oscars in twenty twenty four, taking home seven Academy Awards,

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including Best Picture and Best Director. This time, Nolan has

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shot an entire film in Imax and assembled yet another

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all star cast. Will he do it again? It's The Odyssey.

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I'm Ronald Young Junior, and I'm leaving the theater.

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Speaker 2: All right.

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Speaker 3: This is Ronald and I am leaving the theater after

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seeing The Odyssey. The Odyssey written and directed by Christopher Nolan,

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starring Matt Damon, Tom Holland and Hathaway, Robert Pattinson, Lupita Youngo,

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Samantha Morton, Zendeia, and Charlie Sterren per Usual. For a

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complete listing of the cast and crew, go to the

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link in our show notes because I definitely left some

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names out.

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Speaker 2: I am not here alone.

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Speaker 3: I am watching this screening in La or I just

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watched the screening in la and I'm here with Night.

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Speaker 2: Rosie Knight.

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Speaker 3: Welcome to the show, longtime fan, first time guest on

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the Nope, I didn't land that well anyway, I'm glad

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you're here.

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Speaker 2: How are you?

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Speaker 4: I'm glad to be here. It's very fun to watch that.

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Speaker 5: And it starts to be Reunited after Pop Culture Debate Club,

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which we did a couple of times together.

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Speaker 3: Good Pull. We don't talk about that show here, but

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it's okay. I'm not hurt or anything. It's okay. No, no,

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I'm gonna leave it in there. I need everyone to

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know my pain, all right. So The Odyssey is Christopher

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Nolan's reimagining making of Homer's classic the Odyssey, which is

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a bunch of Greek mythology and stuff. You probably learned

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about this in school. This plot follows Odysseus after he

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fights in a war against the Trojans and he has

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to take the long way home because he keeps getting lost. Meanwhile,

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his wife and son are trying to fight off people

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who are trying to usurp his throne home in Ithaca. Okay,

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that is the plot the movie, Rosie Night, What did

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you think of this film?

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Speaker 4: Okay? So I do hate to say, this is a

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tough day for me.

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Speaker 5: Because I am, as most people know who recognize my voice,

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I am a Christopher Nolan sink, let's say, But I

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gotta say I actually thought the movie banged.

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Speaker 4: I loved it. It's very annoying.

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Speaker 5: I actually thought it was like incredible, and it was

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very tailored to my exact taste.

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Speaker 4: So yes, I was.

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Speaker 5: I went in with the expectations and I was honestly

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pretty blown away. The imax of it all was amazing

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to see a full movie in imax for the first

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time ever.

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Speaker 3: It's so funny because about a third through the movie,

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I was like, this movie stupid, and then halfway through

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the movie, I'm like, oh, what are you doing? And

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then somewhere in that last third, I was like, Yo,

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this movie is incredible.

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Speaker 2: What is happening here?

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Speaker 3: You're absolutely right, I feel like the it's There was

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a part of me that said, I don't think the

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writing of this movie is that great, but I think

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the execution of this movie, like what they actually what

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you actually see on screen, which is more than just

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the lines that they're delivering. And there are some banger

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lines in here, but there was just a lot of

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parts of story that I was questioning, pacing and all that.

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But then again, when they get to the point that

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they're trying to make, it gets a lot better. That

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being said, there's a lot of this that kind of

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reminded me of Exception of a man tried to get

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home to his kids, and emotionally the beats felt a

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lot like inception.

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Speaker 2: I don't know if you call it.

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Speaker 5: Now, I will just say I don't know if you've

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ever watched any of a Christophanilla movie, but that's basically

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every fucking movie he makes, Like it's always about a

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dad going back to his kid, A wife has died,

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I have to see. I actually think the constraints of

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the two thousand year old plus poem, which is like,

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you know, this epic that was written probably by hundreds

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of people over like hundreds of years, so it's kind

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of hard to adapt. I found those constraints kind of

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helped him because like he couldn't kill Penelope, like just

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don't do it, like that's not in the story.

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Speaker 4: Do the story or whatever.

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Speaker 5: You're sorry if it actually is, and he changed that,

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but good for you. So no dead wife. Yeah, it

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definitely has a lot of his usual themes family. I

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think the big thing that stuck out to me though,

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and I was actually talking to in my X ray

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vision group chat.

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Speaker 4: About this already.

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Speaker 5: It's definitely like a very heavy anti war movie. And

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I think that is a reaction to Oppenheimer, where he

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thought he was making an anti war movie but he

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actually wasn't and it ended up being way more kind

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of controversial. But the big thesis of this movie is

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definitely like an anti war movie, which I was.

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Speaker 4: Not expecting, and I felt for me the movie worked.

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Speaker 5: But I was speaking some other friends outside who had

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similar issues, like you said, with pacing, but all of

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them agreed that once you get to the third act

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and it wraps up, it actually kind of works. And

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for me it worked because I felt like it was

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very lyrical and weird and kind of like an oral

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story because you just jumped between so many different characters,

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and but it worked. I felt like he got the

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dream like weirdness down.

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Speaker 3: That was perfect. I think dreamlike weirdness is a great

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way to talk about. As a matter of fact, I

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think he kind of stretched as a filmmaker in this one,

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because and I mean we're talking about a person who

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did Interstellar. He's good at imagining things. He's good at

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inception tenant, he's good at imagining things. As a matter

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of fact, I'm hoping that he's imagining something new for

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his next film. I don't want to see another historical

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drama from him, But knowing what he was capable and

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how he executed, especially the scene there's a scene where

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I'll just say, pigs, there's pigs, and that scene was

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it was body horror, and I don't like body horror.

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But I was watching the whole time with my hands

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on my head. But I was watching the whole time.

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So I feel like he's definitely stretched himself as a

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filmmaker here in a way that I mean, I already

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know this is a front runner for Best Picture. It's

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everything that Hollywood likes. It is a big, spectacular, epic film.

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I think my only quibbles with it really come down

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to things that took me out of the movie several times.

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Speaker 2: Every now and then.

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Speaker 3: Telemachus, playing by Tom Holland is just like, hey, mom,

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so and so and so, and I'm just like, what

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do you mean, Mom.

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Speaker 5: Let's talk Okay, So let's talk about this because we

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were This is actually something really interesting that Nolan decided

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to do. So there was a recent adaptation of the Odyssey,

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which was the first woman to ever adapt the Odyssey,

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and it was very like plain language and she also

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changed it to iambic pentameter, which is the Shakespearean kind

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of thing rather than how Grecians would have said it.

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And I think because of that, he went for this

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like loose, easy, free, so it doesn't feel forced. And

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I actually think for like ninety five percent of the

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movie it works really well because a lot of times

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when you watch like Lawrence of Arabia or like an

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old timey Cleopatra, they're doing such accents that it ages

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it they do.

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Speaker 4: It's campy.

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Speaker 5: They're all talking in like very high British. So I

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think that the casual nature for the most part really

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loves ubim. But then like at one point, I'm pretty

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sure that Tom Holland did throw a sword and go

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Dad's swords or something, and I was like, but generally,

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I do want to give credit to the whole cast, actually,

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including Tom Holland and also.

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Speaker 4: The Punisher himself.

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Speaker 5: You know, John Berthall, he's really great in this movie,

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and he did.

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Speaker 2: Not stretch as an actor in this movie.

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Speaker 5: Now he didn't, but this is actually the thing that

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worked for me about this movie. Right, John Bernhal's being

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John Bernhale, Robert Pattinson is being Robert Pattinson's Zenda is

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acting as a beautiful young woman, but she's barely in

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it right, so she's basically Zendeia. But the way that

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they put the story together and they cast everything, there

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were truly moments where I was so engrossed that I

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was not just thinking, Oh, that person's seen an air one.

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That person sent a text, which, like with Nosferatu, like

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Egger's last.

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Speaker 4: Movie, I really struggled with that with Lily Rose.

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Speaker 5: Depp, I do feel like, also you mentioned the horror,

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I do feel like this is the Christopher Nolan who

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for the first time has like watched Robert Eggers and

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Denny Villeneuve. It feels so influenced by June in a

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really positive way.

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Speaker 4: Like I feel like this.

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Speaker 5: And Dune three coming out this year is gonna tip

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us onto a kind of period piece Swords and Sandals,

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grand epic, because Hollywood's been wanting to do this since

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the fifties.

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Speaker 4: But it has always struggled, always struggled.

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Speaker 3: I agree, and I think I don't know. I'm like,

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I'm a I'm not a sword in Sandals park guy.

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Speaker 4: Uh.

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Speaker 3: But I will say the one thing that this does

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well is it could have ended as just a sword

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in Sandals movie. But I think what Doune does well

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and what movies like this do well, is that they

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state their ethos enough, and they land their ethos enough

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that you realize, oh, this wasn't about the war, this

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wasn't about We're not gonna see like fifty dudes painting

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abs on their stomach saying oooh like for three hundred

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this is like they're basically saying, no, there's something else

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going on here. Because by the time this movie gets

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to a state, it's point where he's kind of like

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talking to his when he's talking to his wife at

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one point in the movie and he starts to kind

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of state the ethos of the film. I was blown

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away because at some point he says, ten years of

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rage flew into Troy.

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Speaker 2: In one night, and I was like, oh no.

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Speaker 3: And then as they start showing you, it was just

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such first of all, was remarkable restraint, because you really

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think that you're just seeing vignettes the whole time, But

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when they actually get to the point, it's you realize

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that this was all done with intent, which immediately makes

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me want to watch it again. That being said, I

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need Hollywood to understand that I need Hollywood to say, hey,

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this isn't just sword and sandals. We're actually making something

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that's good here and that matters. And that's what Doune

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and movies like this do.

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Speaker 5: Yeah, I think like with any genre stuff that's like

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the big issue that Hollywood often has is like the

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same way of seeing it right now with the back rooms,

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where it's this idea of like, oh, quickly find someone

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on YouTube, right, like find something like on YouTube. But

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it's like Caane Parsons is a once in a generational

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talent who's like sixteen years old who made a super

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weird movie, Like you can't replicate that, but what you

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can do is support independent artists, right, So this is

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the same thing where it's like, what you can do

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is give artists with a vision a lot of money

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to do great genre stories that can be analogous. Because

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something I did not expect from Christopher Nolan, who, by

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the way, in the past I have complained a lot

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about his tendencies to be like he's not a very

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international caster, and when he is, he he doesn't usually do.

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Speaker 4: A great job. With Dunkirk.

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Speaker 5: He really missed the mark on that historically, I felt

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like here he was learning from a lot of his

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own mistakes, Like this was a cast that looked how

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I would a want to see a fucking movie look,

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but be also like, this is what it would be

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like in ancient Greece, like think about trade routes, thinks

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about pillaging and raping, like it's gonna be diverse.

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Speaker 4: I think there's a lot of choices.

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Speaker 5: He makes that is gonna make this age so much

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better than a lot of his other movies. I actually

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think this is a lot of people are gonna say

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this is the best movie, and I do think they're

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probably right. I only have a couple of Christopher Nolan

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movies i'm a fan of, but this is definitely now

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I've probably got three, you know, with this.

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Speaker 3: It's funny because I'm I like again when I by

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the time I walked out of it, I enjoyed it.

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And the more I talk to you, the more that

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my score on this is like is is adjusting. I

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love Christopher Nolan like you, and I feel like when

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I think about this as a part of his cannon,

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it obviously fits his most recent cannon, if you because

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Dunkirk Oppenheimer all of.

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Speaker 2: Those, Tenant is the only one. Tennant is kind of

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the odd man out.

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Speaker 3: Now if you think of it as last four movies,

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it's Dunkirk, Oppenhauer to Oppenheimer, Tenant and the Odyssey, and

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Tenant's really.

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Speaker 5: Like more of the last bastion of like the Batman sci.

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Speaker 2: Fi era, you know, the Interstellar inception all that.

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Speaker 3: So because of that, it makes me say, I don't

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know what he's going to do next, but I will

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say he is a very sharp filmmaker right now, and

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it's gonna be I mean, it's gonna be very I

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mean I almost feel like you might need to quit.

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Speaker 2: Like I don't, Like there's a part of me I'm like,

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where do you go from here?

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Speaker 4: I'm not gonna lie.

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Speaker 5: It does feel like he's kind of done. This is

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a magnum opus Like it felt to me like all

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of his British tendencies, all of his storytelling tendencies, all

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of his film nud tendencies to be the first director

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to ever direct a full feature length film completely in imax,

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like it's all led to this. I think if I

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was gonna see him do anything, I would love to

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see him like take a twenty five mil budget and

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do like a mid budget like crime thriller or something

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like he used to do. And again, not a huge

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fan of all of his work, and I will say

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I do think the reason this is really good is

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also because he had so much source material to work from.

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Speaker 4: I think that helped for me.

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Speaker 5: I would love to see him adept something where he's

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not just directly ripping off an anime movie, So like,

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let's do an original movie next Christopher, a little bit

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lower budget. But I know, really Universe was probably gonna

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ask him to do the Iliad, and honestly, I would

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be there on the first day.

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Speaker 4: So I can't complain.

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Speaker 3: Okay, So here at leaving a theater, we rate movies

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out of five stars. I know this is your least

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favorite thing, but it's out of five stars and you

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can use decimals. Let me just tell you what the

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scale is so you understand it. So one is this

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it's irredeemable basically. Two is I didn't like this. I

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hated it, didn't like it. Three is I would watch

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this again. That is the most basic down the middle.

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I would watch this again when you start to get

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above three, when you get to like three point twenty

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five three point five. You really enjoyed this movie. Four

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is typically where a lot of the Oscar films live,

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and most of the movies that you really like they

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live around the four range, and then five typically. Just

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so you know, the first movie I ever gave five

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stars to was Godzilla minus one, and I also gave

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it to the one with Lupinia and Jungo as the robot.

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The Wild Robot also got five stars. So there's movies

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that are just so satisfying that their imperfections are not

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outweighed by how I feel when I move out of them.

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Those are movies that get fives. So now you know

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the ratings there were five. You can use decimals if

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you need them. What would you rate this movie out

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of five stars?

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Speaker 5: No, I think going by your rating, I think just

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being objective, being sensible. I mean, this is like a

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solid four star movie for me. I think I would

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highly recommend people go and watch it. I think the

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cinematography is amazing. I was not bored even though it's

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fucking long.

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Speaker 4: That I like the weird choices, but and I do

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feel like it pays off.

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Speaker 5: I do feel like maybe some people would leave, so

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I'm not giving it five. It's not perfect, but I

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do think it is definitely much better than just good.

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Speaker 3: So so let me just say something about you that

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I think is incredible. You are a very sharp reviewer,

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and you understand things very well, and you're very good

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at articulating things, and you're very fair when you don't

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like things, because I know you don't like Christopher Nolan.

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And I know that because when I was sitting here,

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I was trying to think of what my score was

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going to be. And when I walked out of this film,

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I thought, this is a four star movie. I four

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right down the middle, and I wasn't sure what you

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were going to say, because it seemed like you enjoyed

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it more.

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Speaker 2: So I'm like, where could it beat? Where could it land?

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Speaker 3: And you just solidified that, Yes, it's one hundred percent.

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This is a solid four star movie, one hundred percent

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one through three, four stars out of five. I don't

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think it's more. I think a lot of critics are

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gonna lose their minds and give it like it's probably

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gonna have a ninety five ninety six percent Rotten Tomato score.

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I wouldn't be surprised if it's even higher than that.

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They're gonna be run with that. I think it's a

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four star movies. I think you set your expectations saying

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I'm going to go see a very good movie. Get

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your popcorn. It's two hours and fifty two minutes long.

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There was sometimes where you felt every minute of that

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two hours and fifty two minutes. But what it does

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in that time, I mean, it's good. And then we

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sit at the end, we saw the credits. The credits

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are less than six minutes long, which your point, less

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than seven minutes long. What you pointed out was probably

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because they used a lot of practical effects. They didn't

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use a lot of like houses and digitals and all

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that which have all these staffs that make the credits

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much longer. So one last thing I'll say before I go,

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what did you think of Ludwin Gordson Ludwig Gornson's score.

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Speaker 4: I did love it. I'm a Ludwig fan.

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Speaker 5: It was obviously very Dune influence, very Zimmer Hans Zimmer influence.

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I think what I really liked about it was the

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more like electronic elements that he bought in that kind

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of brought something new to it for me, and I

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think like that is something what I liked about this movie.

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And the reason is that for for me is like

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there is unique It's not in a original film. We've

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seen Greek myths, but there is unique choices that are

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made throughout that makes it very satisfying and enjoyable. And

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I think the score is one of them, because it

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would have been very easy to go like John William's

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Danny Elfman even like classic, and it's so much weirder,

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and I think it worked.

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Speaker 3: I absolutely agree, and with that, I'm leaving the Theater

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as a production of Oh It's Big Roun Studios. I

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mixed this episode, and per usual, I am working very hard.

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I am currently in LA right now. By the time

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you're hearing this, I will be on my way to

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New York because I am recording a new podcast. I

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00:17:34,720 --> 00:17:37,039
have not announced it yet, but I am announcing it

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00:17:37,200 --> 00:17:40,200
very soon. You can only hear that announcement on Patreon.

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They are going to know the truth. They are going

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to know exactly what's going on. Patreon is a very

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good source of support for me because I'm working hard

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putting out all of these episodes of Leaving the Theater.

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For you sometimes it's harder than it looks, even though

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I know I make it look easy.

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Speaker 2: It's real, real labor. It's a labor of love, but

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it's labor still labor.

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Speaker 3: If that means something to you, go to patreon dot

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00:18:06,480 --> 00:18:08,640
com slash Oh It's Biggron, or go to the link

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00:18:08,720 --> 00:18:12,599
in our show notes. Show art from Heather Wilder. Theme

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00:18:12,720 --> 00:18:16,359
music by the mysterious Breakmaster Cylinder. For more information about

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the Odyssey or Rosie Knight, check out our show notes.

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You can follow me on Instagram, Blue Sky, TikTok, threads,

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or letterbox at Owens Big Rond that's at O h

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I T.

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Speaker 2: S b I g R O N.

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Speaker 3: You can find out more about this show on other Owis

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Big Brown Studio shows by following us on Instagram at

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Owiz Big Round Studios. Leaving the Theater will be back soon.

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Thanks for listening and thanks for being.

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Speaker 2: On the show.

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Speaker 4: Thank you having me.

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Speaker 3: Leaving the Theater is a production of Oh It's Big.

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Speaker 5: I just try to do a cheery point and instead I'll.

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Speaker 2: Get it for you.

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Speaker 4: Sorry, with that, With that,