This July, competitors are running scared – like Ithacans fleeing the cyclops Polyphemus – from The Odyssey, Christopher Nolan’s humongous staging of Homer’s epic poem. The only significant alternatives you’ll find at the cinema in the week of its release are a handful of Aardman rereleases and an astoundingly poorly reviewed adaptation of Animal Farm. The tumbleweeds roll on into next week too, where the star attraction is a cheapo horror film capitalising on Pinocchio’s public-domain status. Only by the 31 July does a blockbuster tentatively poke its head above the parapet – we commend you for your bravery, Spider-Man: Brand New Day.
No other film-maker is able to make studios retreat from the battlefield like Nolan, such is his clout. Sure, other directors might be able to attract sizeable numbers of moviegoers by dint of their name on the poster – Paul Thomas Anderson, Tarantino, Scorsese – but none of them are operating on the same “event cinema” scale, selling out cinemas for months on end. Modern-day Spielberg, with a fair wind behind him, might come close, but that depends completely on the project: flashy sci-fi movie that harks back to his golden era of ET and Close Encounters – perhaps; semi-autobiographical paean to the wonders of moviemaking – not so much. Nolan doesn’t tend to experience that variability: everything he stamps his name on will reliably hit.
