What is the best way to watch The Odyssey in theaters?

What is the best way to watch The Odyssey in theaters? It's an important question, as Christopher Nolan's fantasy epic is releasing on a range of PLF (Premium Large Format) screens in theaters across the globe. sportbet.reviews

From IMAX 70mm and Dolby Vision to a bog-standard mall theater screen, the many options on offer can be a little confusing, which is where our foolproof guide comes in. The Odyssey is already the highest-rated movie of Christopher Nolan's career, and with Nolan shooting every frame of the movie on IMAX film, you'll want to see it in the best possible format.

The Odyssey is one of the year's most exciting new movies. Want to know what to expect? There's no better place to start than our Odyssey beginner's guide, or check out our spoiler-free 5* The Odyssey review. But first, head below for the best ways to watch The Odyssey in theaters.

IMAX 70MM (1.43:1)

There are no bones about it: this is the definitive way to watch The Odyssey. Nolan and cinematographer Hoyte van Hoytema shot every frame of The Odyssey on IMAX film cameras, meaning no distracing aspect ratio switches or resolution dips throughout, just towering immersion.

There's no pixel count with analogue film, so it's not a direct comparison, but IMAX 70mm is considered the equivalent of about 12K resolution, making your 4K TV look like a 540p DVD. In other words, the level of detail is unmatched. Plus, this is the only way you'll get to see the exclusive Dune 3 prologue. Good luck getting a ticket, though; there are only 41 theaters globally equipped with IMAX 70mm film projectors, and many screenings are currently sold out.

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IMAX (1.90:1)

Unlike IMAX 70mm screenings, you shouldn't have too much trouble getting a seat at an IMAX digital theater, as they are far more common, and you're still benefiting from an expanded aspect ratio and all the bells and whistles of IMAX's proprietary Image Enhancer process.

1.90:1 is almost exactly the same aspect ratio as your TV at home (16:9), which should give a sense of the extra screen real estate in this version. The resolution won't be as sharp as any of the film options at about 2.9K, but it'll still look pretty dazzling.

70mm (2.20:1)

Nolan is famed for his embrace of IMAX technology, but that doesn't necessarily mean you're missing out if you don't see The Odyssey in an IMAX theater. The director is an equally big proponent of projecting on film, because 70mm presentations of The Odyssey come with a massive resolution bump to around 12K. So if you can't find a seat at an IMAX 70mm screening, there are benefits to a 70mm presentation over IMAX digital.

Nolan has also worked with variable aspect ratios since The Dark Knight in 2008, so he has almost 20 years of experience 'center punching' the action, meaning you'll never miss out on important visual information at the top and bottom of the frame with this narrower aspect ratio. And Lawrence of Arabia was shot in 2.20:1, so if it's good enough for David Lean…

35mm (2.39:1)

Like 70mm film, you get a resolution bump over digital with 35mm film presentations – it's the equivalent of about 5.6K resolution. 2.39:1 (aka anamorphic widescreen) has been cinema's standard aspect ratio for around 70 years, and for many, is the most visually 'cinematic' way to present movies, so there are reasons to consider 35mm.

Dolby Vision (1.85:1/2.39:1)

Dolby Vision laser is about as good as digital movie projection gets. The aspect ratio will depend on what your local Dolby Vision theater is capable of showing, but either way, you're getting a crazy high 1,000,000:1 contrast ratio, dazzling brightness, and exact color rendering. Certainly not a bad option if you have a Dolby Vision theater nearby.

Standard cinema screens (2.39:1)

Much is made of premium large format film presentations (including by us in this article), but the truth is: you're seeing exactly the same film whether you're paying a premium for IMAX 70mm or matinee rates at your local AMC. So if your budget can't stretch to one of the myriad PLF presentations listed above, The Odyssey is still well worth checking out. After all, our own 5* The Odyssey review labels it a "monumental accomplishment, an undeniable film-of-the-year contender, and one of the finest movies of Nolan's already impressive career." In other words, it's a must-see in any form.

The Odyssey releases in theaters on July 17. In the meantime, check out our ranking of the best Christopher Nolan movies.

Ever since the DS and Wii, Nintendo's built its brand on staying out of the AAA graphics race that its competitors have usually pursued. But the seeds of that corporate philosophy were around at least a decade earlier, when games like Super Mario 64 were at the cutting edge of 3D graphics, and RPGs were exploding across new cinematic frontiers. For Shigeru Miyamoto, though? Even in the '90s, he'd rather have just kept launching cannonballs on his OG Macintosh.

In July 1996, Miyamoto was interviewed by Kenji Eno, the developer best known for the cult horror game D. Eno, known for experimental game design, had just played the newly released Super Mario 64, and wasn't nearly as impressed as the rest of the gaming world. He dreamed of something more interactive from the 3D world, where snow would realistically react to Mario's footsteps, kicking up into snowballs as you ran around.

"I would love to do that," Miyamoto responded, according to a newly translated version of the interview on Shmuplations. "However, strategy guides exist now, so the joy of someone discovering something entirely on their own doesn't really translate anymore. Everyone expects to be able to beat the game as a given. There's a massive dilemma there."

Miyamoto's distaste for pre-determined solutions and linear exploration is part of why he decided old-school Zelda dungeons aren't "really that much fun" while making Ocarina of Time a few years later. With Mario 64, he wanted the game to be smaller in scope, but feared the market would reject something that wasn't packed with content and technical wizardry.

"In reality, instead of having six or seven stars per stage, I only wanted half that number," Miyamoto explained. "But like I said before, the foundation is set now, so we perhaps can start doing stuff like that from here on out. Do you remember that old Mac game where you'd shoot cannons at each other in a windy area? You'd adjust nothing but the launch angle and power to hit the enemy artillery hiding behind rocks. The other side would shoot back at you using the wind too."

Shumplations suggests that Miyamoto is probably talking about Cannon Fodder, not to be confused with the 1993 goofy shoot-'em-up that became a hit on Amiga. This Cannon Fodder is a simple 2D game with purely black and white graphics where your cannon fire can destroy objects in the environment.

"I think that kind of thing is far more interesting than the RPGs we see today," Miyamoto argued. "But you just can't make a game like that when you have to worry about justifying a 9,800 yen price tag. People look at a casual game like that and assume it can be made on a low budget, or that a rookie can handle it, or that if it's that simple, it could just be distributed via the Satellaview."

Satellaview was a satellite-based distribution service for Japan's equivalent to the Super NES which offered downloadable games. The idea that you purchase "big" games with high production values at a store and smaller, more experimental titles digitally would persist for years, even as digital distribution became more prevalent. That line was drawn even more strongly in the '90s.

"Everything gets manufactured based entirely on price," Miyamoto said. "Instead of opening up a playground for people to try out new ideas, everything has just become a conversation about cost. I find that a bit frustrating."

Even here in 2026, as we're being forced to say goodbye to physical games, we're still debating game prices – but it has become much easier for smaller-scale games with fresh ideas to make it to market. Who knows? Maybe Steam's next surprise hit will be all about two players shooting cannons at each other.

Zelda was Nintendo's answer to "traditional RPGs," Shigeru Miyamoto says: "We wanted the player to interact with the game world using the controller, and conquer dungeons."