This summer, the cinematic landscape promises its usual array of blockbusters, with familiar titans like Spider-Man, Minions, Star Wars and Toy Story gracing the big screen. Yet, the most eagerly anticipated release isn't a superhero saga or a beloved animated franchise, but a 3,000-year-old epic poem brought to life by filmmaker Christopher Nolan.
Nolan's The Odyssey, set for release on 17 July, is more than just a story to him; it's the story, a foundational narrative demanding the grandest possible scale and all the resources modern Hollywood can muster. "There’s a massive amount of pressure," Nolan told The Associated Press.
"Anyone taking on The Odyssey is taking on the hopes and dreams of people for epic movies everywhere and that comes with a huge responsibility." Having helmed three Batman films, Nolan is no stranger to adapting cherished tales.
"What I learned from that experience is that what people want from a movie about a beloved story, a beloved set of characters, is they want a strong and sincere interpretation," he explained. "They want to know that a filmmaker has gone to the mat for it. I really tried to make the best film possible."
Following the near-billion-dollar success of Oppenheimer three summers ago, The Odyssey boasts battles, gods, mythical creatures, and an all-star cast including Matt Damon, Anne Hathaway, Zendaya, and Tom Holland.
It also marks the first film shot entirely on IMAX film, with tickets for some 70mm showings selling out a year in advance. Despite its epic scope, Nolan confirms it will be shorter than Oppenheimer, constrained by the three-hour limit for IMAX film projectors. "It’s an epic film, as the subject matter demands," Nolan said. "But it is shorter."
While Hollywood no longer reserves all its major releases for the warmer months, the 18-week period from early May to Labor Day remains crucial, typically accounting for around 40 per cent of the year's box office.
Since the pandemic, this figure has only surpassed £3.2 billion once, in 2023. This year, the season sees an unexpected opener: The Devil Wears Prada 2.
Director David Frankel received a call from Disney when Avengers: Doomsday wasn't ready for its May premiere. He saw the 1 May release, just days before the Met Gala, as an opportunity for a long run, despite the tight production schedule.
Fan enthusiasm, with sightings of Hathaway and Meryl Streep on New York streets, and support from Anna Wintour, proved motivating. Frankel reflected on the changes since the original film, particularly the decline of magazines. "How does Miranda Priestly deal with this changing world and what’s her future?" he pondered. "The same with Andy Sachs: If all your ambition has been funneled in this one direction, what happens when you have to pivot and how do you adapt?"
The film industry itself is navigating a new paradigm. Box office figures are down over 20 per cent from pre-Covid levels, with streaming, the pandemic, and evolving theatrical windows permanently altering viewing habits. The landscape could shift further if Paramount acquires Warner Bros.
Yet, optimism persists. As James Cameron noted, "hope springs eternal." He added, "We still have a very robust theatrical industry at a time when it was kind of almost pronounced dead." The industry is responding by committing to longer exclusive theatrical windows, while original films and premium formats continue to draw audiences, and the global market expands.
Cameron himself contributes to the "only-in-a-theatre" experience with his 3D Billie Eilish concert film, released on 8 May, which used 17 camera systems to capture her Manchester shows. "Seeing it in 3D is astonishing," Cameron said. "You really feel an intimacy with her and yet you feel the scale of the spectacle."
Universal's summer slate extends beyond Nolan, with Steven Spielberg returning to his beloved genre with Disclosure Day on 12 June. Superhero fans can anticipate Supergirl on 26 June, which DC Studios co-head Peter Safran described as "something cool and original and we haven’t seen before," and Spider-Man: Brand New Day on 31 July.
The last Spidey film, which grossed over £1.5 billion, concluded with Peter Parker erasing himself from everyone's memory. Director Destin Daniel Cretton promises "a blockbuster action movie with all the humor and emotion we love about Spider-Man," adding, "But at its heart, it’s a story about learning how to reconnect with the ones you love."
A significant shift towards PG-rated offerings is also evident. This summer brings Toy Story 5 (19 June), Minions & Monsters (1 July), and a live-action Moana (10 July), all with potential to hit billion-dollar milestones. A non-franchise family option is The Sheep Detectives (8 May), featuring animals voiced by Julia Louis-Dreyfus and Bryan Cranston investigating their owner's death.
Writer Craig Mazin acknowledges the hurdle of "stupid talking animal movies" but insists this one is different, offering "some really beautiful moments and themes and things that parents can talk about with their kids." He stressed, "And most importantly, it is legitimately a movie that is meant for everyone."
Star Wars: The Mandalorian and Grogu (22 May), rated PG-13, also aims for family appeal with its impossibly cute alien. Director Jon Favreau highlighted the need for compelling theatrical experiences: "People have got great TVs at home. You’ve got to give them a reason to go out."
Horror continues to be a strong draw, with summer releases including franchises like Evil Dead Burn (10 July) and Insidious: Out of the Further (21 August), alongside unnerving indies such as the "conversion therapy" horror Leviticus, Rose of Nevada (both 19 June), Backrooms (29 May), and Jane Schoenbrun’s Teenage Sex and Death at Camp Miasma (7 August).
The return of Scary Movie 6 on 5 June sees Regina Hall, Anna Faris, and original creators Marlon and Shawn Wayans, who haven't been involved since the 2001 sequel. Marlon Wayans expressed excitement about parodying recent hits like M3GAN, Get Out and Michael. "Mockery is the greatest form of flattery," Wayans said. "Sending up their movie was definitely tipping our hat to them."
Beyond established brands and blockbusters, audiences are increasingly seeking diverse cinematic experiences. This year has already shown a willingness to turn out for both crowd-pleasers like Project Hail Mary and more challenging fare such as The Drama. Olivia Wilde’s The Invite (26 June), a chamber dramedy about two couples over a wine-filled night, sparked a bidding war at Sundance. Wilde was heartened by studios offering theatrical releases, ultimately choosing A24, which even produced a 35mm print.
"The whole project for me is really tipping my hat to Mike Nichols," Wilde said, acknowledging the audience for such films. The summer also offers a wealth of independent and original works, including Daniel Roher’s Tuner, Boots Riley’s I Love Boosters (both 22 May), John Carney’s musical Power Ballad starring Paul Rudd (5 June), and David Wain’s Gail Daughtry and the Celebrity Sex Pass (10 July).
As Wilde aptly put it, there is room for both originals and franchises. "The audience really likes to recognise risk," she concluded. "There’s something exciting about that."
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