Tag: IMAX

Prince Mario-Max Schaumburg-Lippe: Nolan’s The Odyssey Becomes Universal’s Biggest Film Ever

Let’s start with the numbers, because they’re absurd. Christopher Nolan’s The Odyssey has grossed $1.68 billion worldwide, making it the highest-grossing film in Universal Pictures’ history — passing Jurassic World — Nolan’s biggest film ever, and the highest-grossing R-rated movie in cinema history, ahead of Deadpool & Wolverine. A three-hour, R-rated adaptation of Homer. The biggest film Universal has ever released.

If you’d pitched that sentence in 2024, you’d have been laughed out of the room. Now it’s just the box office report. And the film earns every dollar.

The movie itself

The Odyssey, shot with IMAX cameras and released July 17, is Nolan operating at the absolute peak of his powers. Matt Damon plays Odysseus with a weariness that feels career-defining — a man who has seen everything and wants only to go home, and keeps being denied. Around him: Tom Holland, Anne Hathaway, Robert Pattinson, Zendaya, Charlize Theron, an ensemble that never once feels like stunt casting because Nolan doesn’t do stunt casting. Every face on screen is there to serve the story.

The craft is staggering. This is a film shot for the biggest screens on earth, and it uses them — storms, seas, monsters rendered with the tactility that only practical-scale IMAX photography delivers. But the spectacle never swallows the human story. At its center is the oldest story in Western literature: a man trying to get home, and a home trying to remember him. Nolan, the great architect of puzzle-box cinema, made his most emotional film by trusting a 3,000-year-old narrative. Sometimes the old ways are the best ways.

What the numbers mean

The statistics read like a dare. A $124.5 million domestic opening — Nolan’s biggest global launch ever at $264.1 million. A 27% second-weekend drop, which in modern blockbuster terms is basically a standing ovation. Sixty consecutive $1 million-plus domestic days, the longest such streak ever for an R-rated film. Ninety-five percent on Rotten Tomatoes, an A CinemaScore. This isn’t a front-loaded fan event. It’s a film people kept going back to, and kept bringing friends to.

It’s 2026’s second-biggest film globally, behind only Spider-Man: Brand New Day — the Sony record-breaker we reviewed this week. Between them, they tell the story of the summer: audiences will show up, in historic numbers, for films that feel undeniable.

The industry takeaway

NBCUniversal’s Donna Langley called The Odyssey “one of the most ambitious and brilliantly executed films in cinematic history,” and the champagne was earned. The lesson the town will take — and should take — is that the audience for serious, large-scale, adult filmmaking never went away. It was just waiting to be respected. An R rating, a three-hour runtime, a 3,000-year-old poem, and $1.68 billion later, the “theatrical is dead” conversation can finally be retired.

The verdict

The Odyssey is a landmark: the rare film that is both a genuine work of art and a genuine phenomenon. Nolan took the oldest story we have and made it feel like the only story that matters. It’s the best film of the year, the biggest film in Universal’s history, and proof — if anyone still needed it — that when the work is undeniable, the audience finds it. See it on the biggest screen you can. This is what those screens are for.

Prince Mario-Max Schaumburg-Lippe: Dune: Part Three Promises a Majestic Trilogy Finale

There’s a particular charge in the air when a filmmaker gets to finish what he started. On December 18, 2026, Denis Villeneuve closes out one of the boldest undertakings in modern movies with Dune: Part Three, the finale of a trilogy that took Frank Herbert’s “unfilmable” novel and turned it into the defining sci-fi epic of its generation. Everything we know says the ending will be majestic. The interesting question is what kind of majestic.

The Gamble, the Triumph, and Now the Reckoning

Quick recap, because the arc matters. Dune (2021) was the gamble: a sweeping, sand-blasted foundation that earned ten Oscar nominations and proved audiences would sit still for Herbert’s dense mythology. Dune: Part Two (2024) was the triumph: thunderous, emotionally devastating, north of $700 million worldwide. It made Villeneuve the premier architect of large-scale cinema, and it did it without dumbing down a single paragraph of Herbert.

Now comes the hard one. Part Three adapts Dune Messiah, and its subject is the cost of victory. What happens after the hero wins and the winning curdles. Try selling that as a holiday blockbuster. Villeneuve is trying anyway.

An Unfair Ensemble

The cast list reads like someone raiding the awards circuit. Timothée Chalamet and Zendaya return as Paul Atreides and Chani, their fractured love story now the saga’s beating heart. Florence Pugh is back as Princess Irulan. Javier Bardem as Stilgar. Josh Brolin as Gurney Halleck. Rebecca Ferguson as Lady Jessica. Léa Seydoux as Lady Margot.

Then the new voltage. Jason Momoa returns as Duncan Idaho, resurrected in the ghola form the books always promised. And Robert Pattinson joins as Scytale, the shape-shifting Face Dancer at the center of the conspiracy against Paul. A cast this deep doesn’t happen by accident. It happens when actors want to be in the room where the decade’s defining epic gets its ending.

The Messiah Problem

Adapting Dune Messiah might be the bravest call of Villeneuve’s career, and this is the man who decided Dune was filmable. Herbert’s second novel is interior, melancholic, deliberately anti-climactic. A book that punishes you for cheering Paul’s rise. On paper, it’s unadaptable as a blockbuster.

Which is exactly why Villeneuve is the one to try. His stated solution: play it as a thriller. He told The Hollywood Reporter that where the first film was contemplation and the second was a war movie, this one is “a thriller. It is action-packed and tense.” Let paranoia do what sandworms used to do. Let conspiracies and the slow poison of prescience supply the tension. And at the center of it, he says, “the heartbeat of the film is still the relationship between Paul and Chani.” A whole film built from moments like that, set against an empire in spiritual freefall? If he lands it, he’ll have redefined what a franchise finale is allowed to be.

The Craftsmen at the Summit

Credit the artisans, because Dune was never a one-man show. Linus Sandgren took over the cameras and pushed for a full pivot to film: 15-perf 65mm IMAX alongside 5-perf 65mm, the first time the franchise has shot on celluloid. Film as a physical, textural medium, in an era when most blockbusters are assembled from pixels. The production shot in Budapest and Abu Dhabi’s Liwa Desert, wrapping last November after a grueling seven-year relationship between the franchise and its crews. Joe Walker cuts with a musician’s sense of stillness. And Hans Zimmer, returning to the world he made unmistakably his, gets the delicious problem of scoring not triumph but reckoning. When historians write about this era of cinema, these are first-paragraph names.

The Smartest Date on the Calendar

Warner Bros. dated it like a studio holding a royal flush: December 18, 2026, dead center of the holiday corridor, with IMAX engagements already being framed as the communal, overwhelming experience that’s become this trilogy’s signature. Presales should be enormous.

The event-film era is crowded, with The Hunt for Gollum, Aegon’s Conquest, and Star Wars: Starfighter all looming on the horizon. But December 2026 belongs to Dune.

Verdict

Most trilogy-closers tie a bow. This one looks ready to tighten a knot: a darker, more reflective epic from a filmmaker at full power, played by the best ensemble in blockbuster cinema. December 18 can’t arrive soon enough. The sleeper awakens one last time. We’ll be there, sand in our shoes.