He has covered everything from Marvel to the Oscars, and Marvel at the Oscars. He also writes obsessively about the box office, charting the many hits and misses that are released weekly, and how their commercial performance shapes public perception. In his time at Collider, he has also helped drive diversity by writing stories about the multiple Indian film industries, with a goal of introducing audiences to a whole new world of cinema.  After the micro-budget blockbuster Obsession, Christopher Nolan's three-hour R-rated epic The Odyssey is reminding the industry of what it could have been doing over the last few years instead of doubling down on franchises that audiences were clearly getting tired of. This summer has seen two high-profile IP-driven tentpoles — Supergirl and The Mandalorian & Grogu — underperform at the box office and receive mediocre reviews. As a result, both the DC Universe and the Star Wars franchise find themselves in big trouble. Meanwhile, The Odyssey is set to rewrite the history books with its opening-weekend performance at the box office, armed with some of the best reviews of Nolan's already incredible career. Starring Matt Damon, Tom Holland, Anne Hathaway, among others, the movie currently holds a "Certified Fresh" 95% critics' score and a "Verified Hot" 97% audience score on Rotten Tomatoes. The aggregator website's consensus reads, "Reinvigorating an ancient adventure with majestic sweep and sterling work by its colossal ensemble, Christopher Nolan's The Odyssey imbues myth with primal human feeling." The movie also received an excellent A grade from opening-day audiences on CinemaScore, which, combined with its Rotten Tomatoes ratings, bodes well for its future at the box office. Your answers have pointed to one Oscar Best Picture winner above all others. This is the film that was made for the way your mind works. You are drawn to films that operate on multiple levels simultaneously — that begin in one genre and quietly, brilliantly migrate into another. Bong Joon-ho's Parasite is a film about class, desire, and the architecture of inequality that manages to be darkly funny, deeply suspenseful, and genuinely shocking across a single extraordinary running time. Your instinct is for cinema that hides its true intentions until the moment it's ready to reveal them. Parasite is exactly that — a film that rewards close attention and punishes assumptions, right up to its devastating final image. You want it all — and this film gives you all of it. The Daniels' Everything Everywhere All at Once is one of the most maximalist films ever made: action comedy, multiverse sci-fi, family drama, existential crisis, and a genuinely earned emotional core that sneaks up on you amid the chaos. You are someone who responds to ambition, who doesn't want cinema to choose between being entertaining and being meaningful. This film refuses that choice entirely. It is overwhelming by design, and its overwhelming nature is precisely the point — because the feeling of being crushed by infinite possibility is exactly what it's about. You are drawn to cinema on a grand scale — films that understand history not as a backdrop but as a force, and that place their characters inside that force and watch what happens. Christopher Nolan's Oppenheimer is a film about the terrifying gap between what we can do and what we should do, told with the full weight of one of the most consequential moments in human history behind it. You want your films to feel important without feeling self-important — to earn their ambition through sheer craft and the gravity of their subject. Oppenheimer does exactly that. It is enormous, complicated, and refuses easy comfort. You are drawn to films that foreground their own construction — that make the how of the filmmaking part of the what it's about. Alejandro González Iñárritu's Birdman, shot to appear as a single continuous take, is cinema examining itself through the cracked mirror of a fading actor's ego. You respond to formal daring, to the feeling that a film is doing something that probably shouldn't be possible. Michael Keaton's performance and Emmanuel Lubezki's restless camera create something genuinely unlike anything else — a film that is simultaneously about creativity, relevance, self-destruction, and the impossibility of ever truly knowing if your work means anything at all. You are drawn to cinema that trusts silence, that refuses to explain itself, and that treats dread as a form of meaning. The Coen Brothers' No Country for Old Men is a film about the arrival of a new kind of evil — implacable, arbitrary, and utterly indifferent to the moral frameworks we use to make sense of the world. It is one of the most formally controlled films ever made, and its controlled restraint is what makes it so terrifying. You want your films to haunt you, not comfort you. You are not interested in resolution if resolution would be dishonest. No Country for Old Men is honest in a way that most cinema never dares to be. The Odyssey was initially expected to gross around $80 million domestically and $200 million worldwide in its debut weekend, but the movie has handily crushed those expectations. It opened with $120 million in North America and around $260 million worldwide, against a reported budget of $250 million. This is Nolan's biggest global debut, and his third-biggest domestically behind The Dark Knight Rises ($160 million) and The Dark Knight ($158 million). The filmmaker is coming off his first Best Director win at the Oscars for Oppenheimer, which also won the coveted Best Picture award. The epic biographical thriller demolished box-office projections as well, grossing nearly $1 billion worldwide against a reported budget of $100 million. With a debut this massive, The Odyssey is poised to become Nolan's third film to surpass the coveted milestone, joining the second and third installments of The Dark Knight trilogy. Stay tuned to Collider for more updates.