First tickets to Christopher Nolan’s The Odyssey sell out – a year before its 2026 release

The blockbuster adaptation of Homer’s epic has not finished filming and has no official runtime. But super fans – and scalpers – already have seats The first tickets to Christopher Nolan’s take on Homer’s Odyssey have gone on sale – before he’s even finished filming it and a year before the film is even out, in what is likely the longest pre-sale in cinematic history. The Odyssey, which stars Matt Damon as the cunning Odysseus as he fights his way home after the end of the Trojan war, will be released on 17 July 2026. But on Thursday, Imax released tickets to the first screenings at the 26 Imax cinemas around the world that have the staff and equipment required to project in 1570 format. Continue reading... from Film | The Guardian https://ift.tt/Bnfcmkv via IFTTT

Napoleon review – Joaquin Phoenix makes a magnificent emperor in thrilling biopic

Ridley Scott dispenses with the symbolic weight attached to previous biopics in favour of a spectacle with a great star at its centre

Many directors have tried following Napoleon where the paths of glory lead, and maybe it is only defiant defeat that is really glorious. But Ridley Scott – the Wellington of cinema – has created an outrageously enjoyable cavalry charge of a movie, a full-tilt biopic of two and a half hours in which Scott doesn’t allow his troops to get bogged down mid-gallop in the muddy terrain of either fact or metaphysical significance, the tactical issues that have defeated other film-makers.

Scott cheekily imagines Napoleon firing on the pyramids in the Egyptian campaign as well as witnessing the execution of Marie Antoinette (but not the humiliation of Louis XVI by the Tuileries mob, which he might actually have seen). Out of deference moreover, Scott and his screenwriter David Scarpa suppress all mention of Napoleon’s reintroduction of slavery into the French colonies. But above all, there’s a deliciously insinuating portrayal of the doomed emperor from Joaquin Phoenix, whose derisive face suits the framing of a bicorne hat and jaunty tricolour cockade. Phoenix plays Napoleon as a military genius and lounge lizard peacock who is incidentally no slouch on horseback. Others might show Napoleon as a dreamy loner, but for Scott he is one half of a rackety power couple: passionately, despairingly in love with Vanessa Kirby’s pragmatically sensual Josephine. Scott makes this warring pair the Burton and Taylor of imperial France.

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