Review: The Odyssey

Image courtesy of Universal Pictures.

Christopher Nolan's "The Odyssey" is an expensive looking art film that plays as an epic adventure - but also occasionally a horror movie - and is one of the most unique blockbusters of recent memory. It's the type of film that hardly gets made anymore in the sense that a major movie studio gave a renowned director the creative license to take a monumental work and transform it into his own personal vision.

Interestingly, the picture takes a fair amount of liberties, all of which not only do not detract from the picture, but instead add unique elements. For example, the Trojan Horse is mentioned briefly in Homer's epic poem, but it plays a major role in Nolan's film. Also, the character of Sinon (Elliot Page) plays a pivotal role in the movie, but is referenced in Virgil's "Aeneid," and not in the works of Homer.

Much has been made - and by all the worst people - about the casting in the film; for example, the casting of Page, a trans actor, as a fierce male warrior, Lupita Nyong'o as Helen of Troy, John Leguizamo as Eumaeus, Zendaya as Athena, or Himesh Patel as Eurylochus. There are even a few Greeks with New York accents.

But these particular casting choices were made, most likely, because Nolan liked these particular actors, but also because while "The Odyssey" is set in ancient Greece, the director is saying that it belongs to all of us. One of its central themes is that, in the Greece of that time, all people should be welcomed in one's land and treated with dignity and respect because it is possible that they might be a god traveling in disguise. Those who oppose this universal law for power or money are considered villainous. 

The film unfolds non-sequentially, occasionally being told by Odysseus (Matt Damon), the great warrior who has led Agamemnon's (Benny Safdie) army to victory against Troy and then spent 20 years trying to get home, and sometimes from the perspective of Telemachus (Tom Holland), his son. The latter attempts to keep at bay the many suitors who are circling his mother, Penelope (Anne Hathaway), as she awaits her husband's return. The most sinister of these suitors is Antinous (Robert Pattinson), who once cheated the lottery system that would have forced him to accompany Odysseus on his voyage and instead got Sinon to take his place.

The film is full of stunning cinematography, incredibly staged battles, and unnerving scenes that often veer into horror territory - a frightening battle in a cave against The Cyclops, the nerve-wracking choice between Scylla and Charybdis, and Samantha Morton as a scene-stealing Circe, a witch who lures Odysseus' men in with food and then does some pretty nasty things to them.

Nolan is a filmmaker who is used to working on big canvases and his two most recent films - the remarkable "Oppenheimer" and this one - are his most successful epics. There are few filmmakers who can pull off a film of this size and scope, but Nolan does so here.

The picture is also filled with strong performances, some small but memorable (Morton, Page, Leguizamo, and Charlize Theron as the nymph Calypso) and others larger-than-life (Pattinson's sneering villain and Hathaway's distraught wife-in-waiting). But it's Damon who holds it all together in one of the best performances of his career. 

One of the film's more intriguing touches is that its hero isn't always that heroic - he stands by as his men loot and plunder small villages and, during one the most powerful scenes late in the picture, he describes to Penelope the horrors he saw during the Troy invasion, which included women and children being slaughtered by his men. Odysseus also occasionally makes decisions that lead to the death of his own men on the voyage home. 

This summer, so far, has produced two very strong movies from old masters - Steven Spielberg's "Disclosure Day" and this one. Typically, large-scale blockbuster movies don't rank that highly on my list of the year's best, and that's often because despite their abundance of spectacle, they are short on imagination. That cannot be said of Nolan's film (or Spielberg's) as they are absolutely bursting with it. This is one of the year's best.

Review: The Invite

Image courtesy of Annapurna Productions.

Imagine a much raunchier and funnier version of "Who's Afraid of Virginia Woolf?" and you'll mostly capture the vibe of "The Invite," which is Olivia Wilde's best outing as a director to date. The film is mostly a chamber piece, set in a San Francisco apartment over the course of an evening, in which a bickering couple portrayed by Seth Rogen and Wilde entertain their neighbors from upstairs, played by Penelope Cruz and Edward Norton, who are known for engaging in loud sex.

From the start, it's easy to tell that the evening will not go smoothly. Rogen's Joe has just gotten home from teaching at the small music conservatory where he goes through the motions of his job - he's a former musician who never made it and is seemingly bitter about his lot in life - and learns that Angela (Wilde) has planned a dinner with the neighbors since their daughter is spending the night away from home.

Joe is adamant about cancelling the dinner, and threatens to bring up the fact that the neighbors' epic bouts of sex make it hard for them to sleep. When the guests arrive, Joe and Angela are surprised at how normal they seem - Hawk (Norton) is a retired firefighter who now spends his time obsessing over his interests (he's an admirer of rugs and other home decor touches), while Pina (Cruz) is a psychologist whose work often includes sex-related issues (we learn at one point in the film that Joe and Angela's sex life has taken a turn for the worse over time).

It's not too long into the evening when Joe and Angela learn that Hawk and Pina's loud nocturnal activities are a little wilder than they imagined: The upstairs couple often hosts orgies. This piques the interest of their hosts, who ply them for details, seemingly living vicariously through their neighbors. Soon afterward, the plot takes an even nuttier turn that I won't divulge, but suffice it to say that the evening gets increasingly wilder as the pasts and interests of all the gathered come to the forefront.

The film's second half is much stronger than its first, which suffers a little from over-direction - the fights between Joe and Angela are dialed up to 11 in the film's early scenes and border on being cartoonish. 

But the film becomes increasingly funnier - Rogen's reactions throughout the picture to all that is going on around him are priceless, while Norton provides some great supporting comedic support -  and more emotionally resonant as the evening proceeds. Late in the film, Norton gives a great monologue about how he chose the name "Hawk" for himself, and the film's final scene suggests a possible reconciliation that is moving.

This is Wilde's third effort behind the camera. Her debut, "Booksmart," was a widely praised coming of age comedy that I liked well enough, but didn't think was as amazing as some others did. Her much-maligned sophomore effort, "Don't Worry Darling," was a visually stylish mess in which individual moments were greater than the sum of its parts. 

"The Invite" may be smaller in scale due to its sole location and smaller cast, but it's more assured, often very funny, and a showcase for its cast. It's a movie that observes its characters well and occasionally cracks a joke at their expense, but never judges them. And amid its almost nonstop barrage of laughs (once it really gets going), it occasionally surprises when its characters reveal something honest and true. 

Review: Young Washington

Image courtesy of Angel Studios.

A film about a founding father certainly beats spending a Fourth of July weekend listening to the current president rant and rave, calling his political opponents "communists," or attending the Great American State Fair, which has fewer participants than the Bounce House at your small town's weekend carnival.

"Young Washington" has been produced by Angel Studios, a company that primarily releases religious-themed movies - some not so bad ("American Underdog"), some not so great ("Jesus Revolution"), and some entirely dubious ("Sound of Freedom," which is on a list of movies alongside "Melania" that I refuse to watch).

This movie, which chronicles the early years of George Washington (William Franklyn-Miller), is probably the studio's most watchable film that I've experienced - which is not quite the same as saying it completely works. The picture is well shot - although I've read that it utilized AI in about 100 shots, which is indefensible - and it is has a solid cast that includes Ben Kingsley, Andy Serkis, and Mary-Louise Parker.

The film is, if nothing else, an interesting enough history lesson about what Washington was up to prior to becoming a leader in the American Revolution and the nation's first president. The picture primarily follows his days as a surveyor in the Ohio territory and his resulting conflicts with the French. It depicts both his ambition and his foibles, which at one point lead him to a devastating defeat by the French as he attempts to gain favor with the British. 

Franklyn-Miller does a decent job of capturing the young man's confidence without making him seem arrogant or cocky. His scenes with Kingsley, who portrays Robert Dinwiddie, are the film's best, while the sequences with Sally Fairfax (Mia Rodgers), whom he moons over, are not as effective.

For a film by a studio that mostly traffics in religious pictures, "Young Washington" has some surprisingly tense and well-made battle scenes, though the one in which Washington rides side saddle to avoid being shot would, perhaps, have been better left to a Roland Emmerich picture. The film also mostly sidesteps religious themes, that is, until the end when a Native American chief suggests that his men's inability to shoot Washington during a battle must be because he was some sort of Chosen One.

All in all, "Young Washington" isn't too bad - but I'd also argue that there's a better film to be made about the nation's first president. The film's dialogue is a little on the nose and often a bit on the melodramatic side, giving it the feel of a Hallmark or made-for-TV movie. But as I said before, it certainly beats tuning in to the current "celebration" of our nation's 250th anniversary.