All articles tagged with #odyssey
Odyssey has become the highest-grossing R-rated film worldwide, amassing about $1.35 billion and surpassing Deadpool & Wolverine; the MPAA lists R for violence and some language, with the UK rating 15 and Australia M; non-US audiences have fueled the film’s success, though North America still trails Deadpool, and Odyssey now faces a box-office duel with Spider-Man: Brand New Day, which has topped $2 billion.
Christopher Nolan’s The Odyssey has claimed the global box-office crown for R-rated films, topping Deadpool & Wolverine with $1.352 billion worldwide (and $516.3 million domestically). The film’s IMAX-heavy production is noted as a milestone, and Ryan Reynolds publicly congratulated the cast and crew as it reshapes the R-rated record books.
Christopher Nolan's The Odyssey has become the highest-grossing R-rated film ever, reaching about $1.352 billion globally and surpassing Deadpool & Wolverine; it opened with a $123.5 million domestic debut and has risen to Nolan's top-grossing title, ahead of The Dark Knight Rises.
Universal's The Odyssey, directed by Christopher Nolan, has become the highest-grossing R-rated film ever with $1.352 billion worldwide, surpassing Deadpool & Wolverine's $1.33 billion. It opened to a $264.1 million global debut (about $123.5 million domestic and $139.6 million overseas) and has since earned roughly $516.3 million domestically and $835.6 million overseas, making Nolan's film his biggest worldwide total and one of five titles to cross $1 billion this year, as it remains in its sixth weekend.
Samsung Electronics announced an exclusive partnership with Activision to become the official TV, monitor, soundbar, and Wi‑Fi speaker partner for Call of Duty: Modern Warfare 4, integrating HDR10+ GAMING and 32:9 ultrawide support on Odyssey monitors, plus Samsung Gaming Hub streaming, beta access codes, and a Gamescom 2026 presence ahead of the October 23 release.
Christopher Nolan’s The Odyssey has crossed the $1 billion global box office mark, potentially becoming his highest-grossing film and the fifth 2026 release to hit the milestone, even as it looks set to lose the weekend to Spider-Man: Brand New Day.
Nolan’s Odyssey recasts Circe as a dirt-smudged, vindictive witch who condemns Odysseus and his crew’s violence, turning Homer’s hospitable goddess into a feminist counterpoint and aligning the film with modern retellings that reclaim Circe as a survivor who highlights patriarchal aggression and the Bronze Age world’s moral rot.
Emily Wilson’s second Atlantic essay reaffirms her critique of Christopher Nolan’s Odyssey, arguing the film is visually stunning but emotionally empty and ethically muddled, notably criticizing its treatment of technology and the decision to shoot in Western Sahara without consent. The piece builds on her earlier LRB critique, tightening arguments rather than doubling down on controversy. The round-up around it also notes Spider-Man: Brand New Day becoming the year’s top-grossing film and crossing $1 billion globally in seven days, plus other industry updates like a John Wilson documentary teaser and Sony’s optimistic cinema outlook.
Emily Wilson, translator of the 2017 Odyssey, doubles down on her critique of Christopher Nolan’s Odyssey, calling the film emotionally empty and arguing it fails to grapple with the social, psychological and ethical questions Homer’s epic raises. In a The Atlantic op-ed she contends the movie’s technical prowess masks a lack of truthfulness about compassion and hospitality, a point she highlighted after a prior London Review of Books takedown describing the screenplay as abysmal. The piece notes backlash from Joyce Carol Oates, while the film remains a blockbuster at the box office.
The Odyssey’s 70mm engagement at Los Angeles’ Alex Theatre has been extended through August 20, 2026, after the venue upgraded to 70mm projection and due to strong demand. It marks the theatre’s first first-run film since 1991’s Terminator 2, and the movie is nearing $1 billion worldwide after three weekends.
Glendale’s historic Alex Theatre installed a 70mm system and became the country’s highest-grossing venue for Christopher Nolan’s The Odyssey, showing the epic three times daily after a $500,000 upgrade and extending the engagement; the Odyssey’s domestic box office totaled about $395.5 million over the weekend, while Spider-Man: Brand New Day led the overall box office, with the Alex planning more large-format engagements and upcoming releases like Dune: Part Three and The Magician’s Nephew.
Retired Imax projectionist Pat Caldwell is the backbone of The Odyssey’s record 70‑mm rollout, training new operators and running 12‑hour night shifts for 3 a.m. screenings across 41 theaters. The project required reviving aging Imax 70‑mm gear, installing a new sound-synchronization system, and solving technical quirks like horizontal film threading and masking. Caldwell’s decades-long journey—from Tennessee’s porn theaters to Imax legend—highlights the craft’s fragility and the fan-driven revival of Nolan’s preferred format.
Christopher Nolan’s The Odyssey has sparked a nationwide revival of interest in Homer’s epic, driving a dramatic jump in US sales across editions, eye-catching displays in bookstores, and long waiting lists at libraries. Emily Wilson’s translation leads the pack, with Circe and other myth retellings gaining traction as readers—especially younger ones—engage with the classic after seeing the film. Experts expect the surge to last a couple of months before normalizing.
IMAX will add Spider-Man: Brand New Day to select North American digital locations starting Aug. 6, pairing it with The Odyssey as the latter ends its exclusive three-weekend IMAX run; the weekend pushed box office to a record $430 million, with Spider-Man debuting at $355 million since July 31 and The Odyssey earning $51 million in its weekend while continuing globally (IMAX reports $221 million there), and The Odyssey remains the only film to post multiple $40+ million weekends.
Christopher Nolan’s China interview with podcaster Zhong Shu dives beyond promo talk, exploring how The Odyssey is reframed around civilization at dusk, Bronze Age collapse, and Zeus’s Law (xenia); he discusses atonement, modern viewers’ role in shaping interpretation, and how his storytelling language—shaped by works like Oppenheimer and Memento—can accommodate audience expectations without deliberately Christianizing the epic.