The Odyssey

Directed by Christopher Nolan
★★★★

“Modern mainstream films don’t come more daring, mammoth, and accomplished than Christopher Nolan’s latest,” said Nick Schager in the Daily Beast. But for all the IMAX-size spectacle the director has packed into his hit adaptation of Homer’s 3,000-year-old adventure tale, what makes the movie special is that “Nolan cares deeply about his story’s human element, and there’s rarely a moment when the former overshadows the latter.” A grave Matt Damon plays Odysseus, a military hero who endures a 10-year journey home after the Trojan War, though it’s Anne Hathaway who “proves the film’s emotional core,” playing Penelope, Odysseus’ faithful, agonized wife. “Many of Nolan’s set pieces are marvelous,” said Kyle Smith in The Wall Street Journal. Odysseus and his dwindling crew battle giants, match wits with a Cyclops, and are transformed into pigs by Circe, embodied, in the film’s “most beguiling performance,” by Samantha Morton. But while The Odyssey is certainly “among the year’s best pictures,” I can’t call it one of Nolan’s best. The characters are “not as sharply drawn” as those in his Batman films, the emotions aren’t as deep as in Interstellar, and his current blockbuster isn’t “as propulsively exciting or as suspenseful as Oppenheimer.” Still, Nolan’s passion for movies is evident “in every frame,” said Manohla Dargis in The New York Times. “Even when his characters don’t stir you, his filmmaking does,” and he’s “in his cinematic wheelhouse” as he slips fluidly between the story’s multiple time frames. To me, “His Odyssey is a classic in every sense, a transporting affirmation of the art and a work of pure cinema.”

Her Private Hell

Directed by Nicolas Winding Refn
★★

“Sex, violence, neon, and leather: Nicolas Winding Refn is back,” said Brian Tallerico in RogerEbert.com. Unfortunately, the first film in a decade from the once acclaimed director of Drive “feels like someone trying to rekindle a fire that went out years ago.” Dropping co-stars Sophie Thatcher (Yellowjackets) and Charles Melton (Riverdale) into a bold-colored dystopia, Refn again tries to find filmic beauty in both sex and violence. “And sometimes he does,” reminding you why he has a devoted fan base. More often, Her Private Hell is merely “an echo of something better.” This “disaster” of a film doesn’t even have a story, said Owen Gleiberman in Variety. Thatcher’s Elle is trying to reconnect with her disreputable father while battling an evil stepmother and trying to avoid a brutal serial killer. Throw in Melton as a soldier trying to find his missing daughter, and the “pretentious” results play like a cross between “David Lynch at his most bafflingly obscure” and “the world’s most avant-garde perfume commercial.” Her Private Hell is “very much not for everyone,” said Chase Hutchinson in The Wrap. Instead, it’s “primarily a series of visceral, vibrant, and increasingly violent visions that you have to let wash over you.” And it helps to be a Refn devotee. “For those who’ve appreciated the way the filmmaker has increasingly stripped away plot to get right to making the equivalent of nightmarish neon paintings, it’s really something special.”