Wednesday, 5 August 2026

Filming The Odyssey: Inside the Making of Christopher Nolan's Modern Epic by James Mottram - Book Review

 


I've loved myth and legend since I was a kid, growing up watching films like Clash of the Titans or Jason and the Argonauts, films which cemented an interest in the stories, characters, and monsters of ancient Greece. Despite this love I never really found the time to read through Homer's classic story over the years, having not been taught it in school, and my spare reading time often taken up by new books that I've picked up to review. Being able to experience a truly 'classic' tale such as The Odyssey was something that had been put on the backburner for so long I'd all but given up on doing so.

But then the trailer for Christopher Nolan's film adaptation hit the internet, and that desire was reignited in me, that childhood appreciated of gods and monsters, of heroes fighting against impossible odds. I lucked out that my partner had managed to win some free tickets to see the film on opening night, and so I got to see The Odyssey as my first IMAX experience and was blown away by how this story was brought to life in a way that felt not wholly realistic and grounded, yet never went so far into the fantastical that it felt more like a superhero film. I thought that Nolan managed to create a version of myth that had a sense of realism to it that made you believe that it could be possible.

With one of the most celebrated filmmakers of our time adapting one of the oldest stories ever written, in a format that had never been used for a full narrative feature film, it was hardly surprising that there would be a wealth of conversations around the film. Whilst there has been a lot of ridiculous talk around the movie (Black people existing and a trans man playing a character he wasn't actually playing being chief complains from internet weirdos), and some more well reasoned but arguably badly delivered criticism of this particular version over the book translations, I've seen very little talk about the film in terms of how it was made beyond people hyping up or complaining about the IMAX format.



If, like myself, you love to learn more about the making of movies and the art that goes into the behind the scenes processes, you'll probably want to check out a copy of Filming The Odyssey: Inside the Making of Christopher Nolan's Modern Epic a huge hardback book filled to the brim with gorgeous behind the scenes photographs, and detailed descriptions on how the movie made the leap from the page to the big screen.

The book opens with an introduction from Odysseus himself, Matt Damon. Damon's introduction to the book is fairly brief, but he uses his time to really hammer home the point that The Odyssey is one of the most impressive films he's ever worked on due to the sheer scale of it. He describes it as the toughest film he's ever made, one where every location and scene were gruelling, where the people in front of and behind the camera were pushing themselves to the limit not simply for money but for the sheer love of making movies and the desire to create one of the best films they ever could.

This sentiment is something that's reflected throughout the rest of the book. The Odyssey isn't just a book adaptation, it's a group of artists and craftspeople coming together to try and create something special, something of a scale and grandeur that's not often seen on the cinema screen. In many ways, seeing the level of craftsmanship put into the film, the dedication and skill, The Odyssey reminds me a great deal of the Lord of the Rings film trilogy; another book adaptation that was believed to be impossible to pull off with any degree of success. And like The Lord of the Rings, I think it's fair to say that The Odyssey is going to be a film that people discuss passionately for decades.

The book is split into decent sized chapters, each of which deals with a particular aspect of the creation of the movie, from discussing the challenges of having to adapt the source material, to discussing why each actor was picked and how they saw each of the characters roles in the story, to the various filming locations, and how they managed to piece together the final product. Each of these chapters gives a fairly deep and cohesive dive into their topics, cramming as much information in as it can whilst managing to not make itself too dry or tedious to read. If handled poorly this book could have taken away a little of the magic of the movie, or it could have been written in such a way that you'd end up bored of it; but instead James Mottram manages to not only keep me interested throughout, but makes the book hard to put down as I just wanted to keep on learning more. 



There were some parts of the filmmaking that I'd become aware of thanks to the internet, such as the fact that the cyclops was a practical puppet on location so as to have real interactive lighting and something for the cast to act against, but seeing how that was done, getting to see the photos of what might be the most impressive puppet I've ever seen share space with Matt Damon and the crew really hammers home how impressive The Odyssey's creation was. The same can be said for the part of the book that goes into the special effects work for the scenes involving Circe and what might be some of the best body horror I've seen in a movie. The make-up effects the actors wore, and the practical puppets that allowed Samantha Morton to actually shove her arm down it's throat, it was amazing to see how such a visceral and disturbing moment came to be.

There's so much that I could talk about thanks to this book, the scenes in Iceland where the journey into the underworld was created, getting a better look at the monstrous Scylla, the construction of the iconic Trojan Horse, the Laestrygonian giants and the moving forest. These scenes from the film that were so beautifully presented on film, so enrapturing that they could have been an entire film unto themselves get time to breathe thanks to this book; and I think that the next time that I see The Odyssey I will be looking at it with a whole new level of appreciation.

With home releases of movies receiving fewer and fewer special features that go into the making of the films (gone are the days of several hours of extras) this book might be the best way to really explore how The Odyssey came to be. And even if the eventual home release versions of the film do include these details Filming The Odyssey is still a fantastically gorgeous book, one that almost demands you to pick it up and leaf through the pages, just marvelling at the beautiful photographs inside. A perfect purchase for anyone who loved the movie.


Filming The Odyssey: Inside the Making of Christopher Nolan's Modern Epic is available now from Titan Books.



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Tuesday, 4 August 2026

The Library at Hellebore by Cassandra Khaw - Book Review

 


'The Hellebore Technical Institute for the Gifted is the premier academy for the dangerously powerful: the Anti-Christs and Ragnaroks, the world-eaters and apocalypse-makers. Hellebore promises redemption, acceptance, and a normal life after graduation. At least, that’s what Alessa Li is told when she’s kidnapped and forcibly enrolled.

'But there’s more to Hellebore than meets the eye. On graduation day, the faculty go on a ravenous rampage, feasting on Alessa’s class. Only Alessa and a group of her classmates escape the carnage. Trapped in the school’s library, they must offer a human sacrifice every night, or else the faculty will break down the door and kill everyone. Can they band together and survive, or will the faculty eat its fill?'

Dark academia has been a popular genre for the last several years, with readers happily sitting down with book all about the romantic, sometimes slightly gothic stylings of some old seat of learning filled to the brim with knowledge, romance, and sometimes mystery. I can see why it's a popular setting, as someone who likes Gothic literature throwing in a scholarly setting feels like a decent fit, especially for people who either yearn for a time of their life they missed out on, or wish they could return to. Cassandra Khaw's The Library at Hellebore, however, adds a disgustingly twisted new angle to dark academia my making a body horror tale that will make your skin crawl before you're through the first dozen pages.

The Library at Hellebore takes readers to a world where magic exists. This isn't a different world to ours, however, as here magic suddenly sprang into the world a century before the events of the book, with a world very much like our own suddenly reeling from the forced acceptance of ghosts, witches, monsters, and creatures once believed to be myth. Despite this sudden shock, the world adapted. People who display magical abilities are taught how to use them, in order to maintain a well managed and working society if nothing else. 

Alessa Li, however, falls into a special group, people with powers so destructive that they endanger not just the people around them, but the very world itself. These world ending threats are either enrolled in, or kinapped to, specialist schools and institutes where they can be given much more intense training, and kept away from the rest of society. Alessa had been on the run ever since she used her power to rip her sexually abusive father to pieces, living on the streets, until the morning she woke up inside the walls of the Hellebore Technical Institute, as much a prisoner as a student. Whilst Alessa spends her time at Hellebore getting to know some of the other students, learning what she can in order to try and facilitate an escape, nothing could prepare her for what happens at graduation day.

The day that the Hellebore students long awaited, the day that would see them leave the Institute, finally comes, and all that it brings for them is death. The faculty transform before their very eyes, becoming a horrific mass of limbs and flesh that consume and kill any student they can find. Now Alessa and several other students find themselves barricaded inside the library, the teachers on the other side of the door. These powerful, unstable students will have to figure out a way to band together if they're going to make it out of Hellebore alive.

The Library at Hellebore feels less like what I would expect from dark academia, and more like David Cronenbergs spin on the genre. From the twisted, fleshy mass that was once to faculty, to the meat puppet security, the students gutted whilst still alive so that their organs can be examined, and even the girl who rips her body to pieces to transform into an awful spider creature, there's very few parts of the book where the reader isn't assaulted by some kind twisted imagery. If you're faint of heart, or don't enjoy fairly graphic descriptions of gore and injury detail then this might not be the best book for you to read, as Khaw pushes the boundary between horror and disgust multiple times.

The narrative is as twisted as the violence, with the events of the book alternating between two time periods as we follow Alessa when she first arrives at Hellebore, learning more about the school and making friends with several of the other students, as well as seeing the events that unfold on graduation day. The changes in time certainly helps to keep things flowing well, and means that all of the action and horror of graduation day isn't all towards the back end of the book, allowing for the more normal scenes to act as moments for the reader to catch their breath amidst the awful events.

That being said, I think that the switching narrative made it a bit of a struggle for me to fully connect with the characters in the book. I never felt like I'd managed to fully understand any of them, their development felt somewhat light, and they came across as more caricatures than fully fleshed out characters with multiple dimensions. This might just be me, and other readers may get along with it better, but I was just unable to really click with anyone, and thus found it hard to get invested in their survival.

If you enjoy the aesthetic of dark academia, but want a bit more bite to it then The Library at Hellebore might just be up your alley. And, if you've never tried the dark academia genre before but love body and cosmic horror this could act as a great introduction to a lot of the tropes of the genre.


The Library at Hellebore is available now from Titan Books.



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Monday, 3 August 2026

Chum - Film Review

 


Animal attack movies are a popular genre, one that often plays into the primal fears that humans have of the natural world around us. We might be the most intelligent animal (in our own way), and the best at using tools to exploit the world around us, but we're far from the fastest, toughest, or most dangerous if we came face to face with many of the other inhabitants of the planet. Films that strip humans of our advantages and put them at the mercy of the natural world remind us just how fragile we are, and how brutal nature can be. The more popular films in this genre can vary wildly in tone and style, from the incredibly serious and well made Jaws to the absolutely ridiculous and schlocky Snakes on a Plane. Chum, the latest entry in the shark attack genre, fails to be either, and ends up delivering a movie that's at best completely forgettable, and at worse insulting in its quality.

Chum begins with a couple having a romantic evening in a small cove somewhere in the Mediterranean, soaking up their love for each other. When the woman goes for a swim whilst her husband goes to grab some more drinks disaster strikes when she's attacked by a shark and ripped to pieces. Cut to five years later and we join Tina (Alice Eve) and her new husband Tom (Eric Michael Cole) as they celebrate their luxurious resort wedding with friends and family. However, it soon becomes clear that there's trouble in paradise as they spend their wedding night apart and argue with each other first thing in the morning the next day. But we've got little time to explore this marriage that's falling apart less than a day in as their friends drag the two of them out onto a boat to celebrate and drink out on the ocean.

Despite Tina being unable to swim (an important plot point that vanishes towards the end of the film), the two of them agree and the group piles onto a party boat and heads out to sea. As the trip goes on the friends begin to realise that Tina and Tom are having trouble; but before they can try to help their friends patch things up their boat is attacked by a great white shark, their captain gets knocked overboard and loses a leg, Tina ends up in the ocean, and the engine catches fire. As chaos ensues and the shark bears down to kill the group is rescued by Roy (Jim Klock), the husband from the opening scene who's spent the last five years trying to become Quint from Jaws.



Roy saves the group before their boat explodes (though no one bothered to bring the injured captain along with them), and they think that they've found safety. As they settle onto Roy's boat, waiting for him to bring them back to shore they all begin to pass out, having been drugged by their rescuer. When they wake up they learn that Roy is hunting the shark that attacked them, and that he's found the only bait that will work at attracting it is human blood. Now the friend group must contend with a crazed captor who's feeding them to the shark one by one in his desperate attempt to kill the animal that took his wife's life.

The concept of Chum isn't on the surface (no water pun intended) a bad one. I realised part way through watching Chum why I thought it sounded somewhat familiar is that it's pretty much the plot for last year's Dangerous Animals; though Chum lacks any real creative chops to stand apart, and ends up feeling something like a cheap knock-off.

A large part of this goes to the script and acting. Despite having the recognisable Alice Eve attached to the film Chum feels like it's made with first-time or low budget stars. Dialogue is stiff and clunky, and no one is able to really delivery it well. From the attempt at a deep and dark narration from Roy at the very beginning 'The sea takes what it wants and leave the rest for us to pick up the pieces. But I am not the sea. I am a man. And a man does not forget.' to the wedding speech in the very next scene that feels like nothing but cringe, to the friend group that talks to each other like they learned to act from watching porno films, there's not a single line in Chum that didn't come across like it was being delivered by someone just having learned how to talk. 

I wasn't expecting high level acting from a film such as this, but when what's supposed to be the triumphant moment of 'Let's kill this son of a bitch' as the survivors take down Roy makes you roll your eyes at how bad it sounds you know that there's a problem. Though my favourite line of the film was when one of the captured friends says they've not seen the shore for hours, yet the shore has been present large in the background the whole time, and is literally behind them as they say it. That moment actually managed to get a genuine laugh out of me, though I suspect it wasn't the intention.



Worse than the bad script and laughable acting, however, is the film's visual effects. CGI in cheap horror films is never going to be good, and I didn't go into Chum expecting any, but I noticed throughout the film that there was a surprising lack of consistency to the shark effects, as well as the blood when characters were attacked. In years gone by this could have been chalked up to bad visual effects artists, but today it's more often a sign of something more insidious, AI. The film doesn't credit any visual effects artists, which is absolutely shocking on its own. It does however credit Tunnel Post, a company that states that it uses AI in it's effects work and filmmaking. 

And thus any amount of credit or good will that Chum may have somehow had goes out the window as it joins the sadly ever increasing ranks of films that are turning to AI effects and artwork to create their finished product. If your film cannot exist without the use of AI don't make your movie. AI is theft, it's destructive towards the environment, it takes wages away from actual workers, and if this film is any example, it's not even being made to crate anything worthwhile. Chum is a bad film, even before the AI generated shark rears its crappy looking head. Chum isn't any kind of masterpiece that's going to change the world so the use of AI can be overlooked, it's a bad film that I would find shocking to learn actually entertained anyone. With AI being used in the effects department I wouldn't be surprised to learn that the bad script also made use of AI in it's creation as it would explain how bad it is.

Chum could have been a fun, schlocky film that managed to entertain despite a low budget and bad acting. As it is, Chum is dull and uninspired. The acting feels phoned in, the script is shaky, it relies on AI to deliver a terrible product, and honestly, the choice of having the one Black actor be the first of the group to be used as bait, locked in a cage by a murderous white man felt both racist and sexist too. If you're desperate for a shark attack movie and you've literally seen every other one made you could watch Chum, but even then I'd still advise going and rewatching something better instead.


Chum is available on digital download from 17th August 2026.



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