Doing full justice to the Homeric legend, Christopher Nolan amasses an epic cast to convey the true cost of war with film-making of thrilling ambition

• A classicist’s verdict

• Nolan interviewed

• Will women also love The Odyssey?

Christopher Nolan reinvents the Homeric legend as a colossal origin-myth story of postwar disillusion, an epic ordeal of anguish witnessed by the dead and presided over by capricious deities who participate on almost equal terms with the humans. It speaks to the generational pain of PTSD; plenty of soldiers come home in person after any war promptly enough, but arriving back to their prewar state emotionally or spiritually can take years or decades and may never happen at all. The invisible odyssey of anguish is punctuated by flashback episodes, hallucinations, confrontations with the arbitrary gods of dysfunction. And all the time the spouses and children cannot move on with their lives.

This is a film with thrilling ambition, boldness, seriousness, generosity and flair. There are some broad-brush moments in the dialogue, yes, but even these are applied with a muscular flourish. It has gasp-inducing, Imax-sized landscapes of loneliness shot by cinematographer Hoyte van Hoytema – who, incidentally, avoids the sea’s traditional cliched colour – and full-tilt battle sequences and fight scenes accompanied by the throbbing and thrumming of drums.

The universal themes addressed by one of humanity’s greatest storytellers more than merit Hollywood box-office treatment

The Magasphere’s endless appetite for culture wars is wearily familiar. But who could have foreseen that Greek literature would become the new casus belli? Ahead of its much-anticipated general release next week, Christopher Nolan’s adaptation of Homer’s Odyssey has triggered Elon Musk and other supposed defenders of western civilisation. Directorial decisions such as the casting of the Kenyan-Mexican actor Lupita Nyong’o as Helen of Troy, Mr Musk ranted incoherently, amounted to “pissing on Homer’s grave”.

The absurd insistence on the white skin of a mythological figure reveals nothing we didn’t already know about the owner of X. The rest of us can move on and look forward to a lavish cinematic take on a story that has inspired artists for almost 3,000 years. Homer’s account of Odysseus’s 10-year struggle to return home from the Trojan wars has been reworked by Virgil in the Aeneid, relocated to Dublin in James Joyce’s Ulysses, and given a feminist treatment by Margaret Atwood in her Penelopiad. Now for the 21st-century Hollywood treatment.

Following the film’s premiere, critics are already calling the historical epic a best picture Oscar contender. Here’s what they had to say

The Odyssey, Christopher Nolan’s three-hour version of Homer’s epic poem, world premiered in London on Monday night, and critics who saw the film there and at early screenings in the US have been sharing their takes on one of the year’s most hotly anticipated films.

“Christopher Nolan’s Odyssey is a colossal origin-myth story of postwar disillusion and a loss of innocence witnessed by the dead,” wrote the Guardian’s Peter Bradshaw, ahead of the reviews embargo lifting next Wednesday and next Friday’s worldwide release.

Set to be this year’s biggest blockbuster, The Odyssey’s cast has been selected to ‘represent the world’. Fair enough – except that one key country seems to have gone completely unrepresented …

There are the American accents, gleaming body suits and a muddy Dunkirk palette. And then there is Lupita Nyong’o as Helen of Troy, a casting choice that recently drew racist attacks from the usual moaners of the internet, including Elon Musk, who complained it wasn’t authentic. Authenticity matters. He’s just focusing entirely in the wrong place. To many Greeks, what concerns us most about the first look at Christopher Nolan’s adaptation of Homer’s Odyssey is the whereabouts of Billy Zane.

Zane, like other beloved members of the Greek diaspora in Hollywood, has recently appeared on “Alternative Odyssey” lists on the Greek side of social media, as well as over dinner table debates from Patras to Palmers Green. (Theo James, Jennifer Aniston, Hank Azaria, and Dave Bautista are among the other nominees.) Greek and Greek Cypriot media platforms are writing open letters. It’s a symptom of feeling left out by Hollywood, again and with no explanation, from our foundational mythologies and epics, with a cast list that features not even a token –opoulos, –edes, or –iannou. Not a single Greek.

Trailer offers glimpses of Matt Damon as mythological hero Odysseus, Tom Holland as his son Telemachus and Anne Hathaway as his wife, Penelope

The new trailer for Christopher Nolan’s adaptation of Homer’s The Odyssey has been released.

Starring Matt Damon as mythological hero Odysseus, the epic film retells the story of Odysseus’ 10-year voyage back to his homeland of Ithaca after the Greek victory at the siege of Troy.

Sophie Turner glaubt, ihr Hochstapler-Syndrom könnte für immer bleiben. Matt Damon ärgert sich, dass Netflix Filme für Handyfixierte macht. Und Piers Morgan fällt auf den Boden wie ein Sack Kartoffeln.

The streaming giant has the data that proves we all just watch things with one hand gripping our phones, so need to have the plot explained to us over and over again

Matt Damon has a new film out, a $100m cop thriller co-starring Ben Affleck called The Rip. It is currently the most watched film on Netflix, because it is a Netflix movie. So how is Damon choosing to promote his new Netflix movie? By kind of laying into Netflix.

During an interview on The Joe Rogan Experience, Damon went to great lengths to describe the differences between going to see a film theatrically and watching it on television. Explaining his experience of watching One Battle After Another in an Imax screening, Damon said: “I always say it’s more like going to church – you show up at an appointed time. It doesn’t wait for you.”

The longtime friends and colleagues add weight to Joe Carnahan’s enjoyably boisterous Friday night crowdpleaser

January has long been a B-movie buffet for those exhausted by prestige awards bait, a month when Gerard Butler and Jason Statham are suddenly commanding wide releases and often No 1 mini-hits. But as the former’s apocalyptic sequel Greenland 2: Migration lingers in the top five and the latter’s action romp Shelter prepares to premiere, we find two more prominent stars – Oscar winners Ben Affleck and Matt Damon – resigned to the small screen instead.

In a non-Netflix world, a film like The Rip – flashy, action-heavy, led by two household names – should be available this weekend on the biggest high-format screens across the country. But then in that same world, at this particular time, it’s doubtful that a film like this would even get made, granted a budget that’s reportedly close to $100m, highly unusual for R-rated non-IP. The streamer was, in fact, so keen to get it made that it has briefly agreed to change its pay structure, allowing Affleck and Damon to bring across their profit-sharing Artists Equity rule, by which each member of the cast and crew gets a bonus if the film performs well. So, as with many films at this weird moment, it’s a take-what-you-can-get situation and while it would have been preferable to see a film like this, which looks and feels like it was made in 2002, on the big screen, the landscape has dictated that the small will have to do.

Matt Damons Frau hätte die Frage früher mit „Ben Affleck“ beantwortet. Matthew McConaughey kann seine eigene Stimme nicht hören. Und Colin Farrell weiß auch nicht, wie das Leben zu meistern ist.

Ahead of his reunion with Ben Affleck in thriller The Rip – as well as his starring role in Christopher Nolan’s upcoming Imax epic The Odyssey – we run through the best work of one of Hollywood’s most reliable heroes

Matt Damon is essentially a bland dish that requires the right spice truly to zing, which means he is often at his best when playing beastly. His flagrantly nasty turn as one of the antisemitic bullies who makes prep school life hell for a secretly Jewish classmate (Brendan Fraser) offers an early indication that Damon realised this, too.

Trailer shows Matt Damon as the Greek hero, with Anne Hathaway as Penelope and Tom Holland as Telemachus

The first trailer has been released online for Christopher Nolan’s epic adaptation of Homer’s Odyssey.

Starring Matt Damon as the classic Greek hero, the trailer offers a series of shots of a bearded Damon as he sets out to return from the fall of Troy as his gravelly voiceover announces: “After years of war … no one could stand between my men … and home … not even me.”