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Save Your Cash: The Odyssey Isn’t Worth IMAX 70mm
You Don’t Need to See Movies in Fancy Formats to Enjoy Them
The Big Idea: Don’t Let Marketing Guilt You
Imagine your friend says, "You haven’t REALLY seen that movie unless you saw it in the special $30 IMAX 70mm theater three hours away!"
That’s not true. You can enjoy a movie perfectly fine in a regular theater—or even at home on your couch.
Boston Globe film critic Odie Henderson wants you to know: the "director’s intended format" is often just a marketing trick to make you spend more money and feel bad if you don’t.
What’s All This Fuss About Formats?
The Current Hype
- "Filmed for IMAX" – Sounds impressive, right? But lots of movies use this label now.
- "As the director intended" – Makes you feel like you’re disrespecting the artist if you watch any other way.
- IMAX 70mm – A specific type of huge film print shown on a massive screen. Very rare. Very expensive.
The Reality
Important Point
Most movies labeled "filmed for IMAX" weren’t actually shot entirely with IMAX cameras. Studios just slap the label on to charge higher ticket prices.
A Quick History Lesson (ELI5 Style)
1. The Old Days: 35mm Was King
- 35mm film = the standard movie format for decades.
- Every theater had it. No extra cost. No fuss.
2. The 70mm "Upgrade" (1950s–60s)
- 70mm film = wider, sharper picture (think Lawrence of Arabia).
- Theaters charged a little extra. But lots of movies had 70mm prints—even regular ones like Star Wars or Close Encounters.
- It was a choice, not a requirement.
3. The "Roadshow" Experience
- Fancy premiere version: reserved seats, intermission, souvenir program, longer cut.
- You paid more and traveled to a specific theater.
- Quentin Tarantino did this recently for The Hateful Eight.
4. Today: Digital Took Over
- DCP (Digital Cinema Package) = a hard drive with the movie file. Cheap, easy, standard.
- Real film projectors are rare now. That’s why 70mm/IMAX screenings are special events.
Why Critics Get Special Screenings (And You Don’t Have To)
Odie shares his critic life:
- He saw Oppenheimer in IMAX 70mm because critic screenings default to "director’s intent."
- He had to watch Avatar movies in 3D (which he hates) because "that’s how Cameron wanted it."
- For The Odyssey, critics got a choice: IMAX (digital) OR 70mm film—not both combined.
- He picked IMAX because the seats were comfier.
Lesson: Even critics don’t always get the "ultimate" format. And they still do their jobs just fine.
The Marketing Trap: FOMO Is Not a Good Reason
How It Works
- Studio says: "This movie WAS MADE for IMAX 70mm!"
- You think: "If I don’t see it that way, I’m missing out."
- You drive 2 hours, pay $25, wait 3 weeks for a ticket.
- The movie might not even be that good.
Odie’s Rule
Important Point
A bigger screen doesn’t fix a bad movie. If the story, acting, and directing aren’t there, 70mm won’t save it.
When Does Format Matter? (Rare Cases)
There are a few exceptions where format truly changes the experience:
| Movie | Why Format Matters |
|---|---|
| Playtime (Jacques Tati) | Packed with tiny visual jokes in every corner. 70mm lets you see them all. |
| Lawrence of Arabia / Amadeus | Epic scale + film texture = genuine spectacle worth seeking out. |
| The Hateful Eight (Roadshow) | Overture, intermission, longer cut—it’s an event, not just a screening. |
But for 99% of movies? Regular theater or streaming is totally fine.
Your Permission Slip: You’re Off the Hook
Odie says it best:
"You’re off the hook for IMAX 70mm screenings of The Odyssey, and for any other hyped-up format the studios throw at you to trigger your fear of missing out. You won’t be violating Zeus’s Law."
What This Means for You
See movies when you want
See movies where it’s convenient
See movies in the format you can access/afford
Enjoy them anyway
Movies Odie Wishes He’d Seen in a Theater (Just for Fun)
If you’re curious what a critic does regret missing on the big screen:
- It Happened One Night (1934)
- Mean Streets (1973)
- Singin’ in the Rain (1952)
- Disney’s Sleeping Beauty (1959)
Note: He doesn’t say you must see these in theaters. Just that he wishes he had.
Summary: The Bottom Line
| Myth | Reality |
|---|---|
| "You must see it in IMAX 70mm!" | You don’t. Regular theater or home is fine. |
| "It’s the director’s intent!" | Often a studio marketing line, not a sacred rule. |
| "I’ll miss details!" | Only matters for a handful of visual-density masterpieces. |
| "Everyone’s doing it!" | FOMO is not a good reason to spend time/money. |
| "It’s the only way to respect the art." | Respecting the art = watching the movie and thinking about it. |
Your movie experience belongs to YOU. Not the marketing team. Not the "insufferable film friends." Not even the director.
FAQ
But what if I want to see it in IMAX 70mm?
Go for it! If you love the format, have the time/money, and it sounds fun—absolutely do it. Odie’s point is: don’t feel pressured to.
Is there ANY difference between regular and IMAX 70mm?
Yes. 70mm film has more detail/color depth than digital. IMAX screens are taller/wider. Combined, it’s the highest-quality projection possible. But for most movies, the difference is like HD vs. 4K on a good TV—nice, not essential.
Why do directors like Nolan push for it?
Some directors genuinely love film and large formats. Nolan shoots with IMAX cameras. But his movies still work beautifully in regular theaters—millions of people saw Oppenheimer that way and loved it.
How do I know if a movie is actually worth a special format?
Check reviews from critics you trust. If they say "The 70mm print reveals details you miss otherwise" (like for Playtime or 2001: A Space Odyssey), consider it. If they don’t mention format at all? It doesn’t matter.
What’s the best way to watch a movie then?
However lets you focus on the story.
- Phone on silent
- Lights dimmed
- No distractions
- Good sound
That’s 90% of the experience. The other 10%? The movie itself.
