Before “The Odyssey” embarked on its theatrical journey, writer-director Christopher Nolan suffered slings and arrows from conservative social media warriors. In their quest to gin up culture war controversy over casting choices in a movie they hadn’t seen, they have succeeded only in helping promote a film that hardly needed extra publicity, while making themselves look stupid.

Because those launching ill-informed broadsides against the film included Elon Musk and Donald Trump Jr. — railing on social media against the casting of Lupita Nyong’o as Helen of Troy because she’s Black, and Elliot Page as a Greek warrior because he’s trans — the attacks became difficult for the media to ignore. Plus, anti-“woke” crusading against a familiar target like “liberal Hollywood” remains one of those gifts (or grifts) that keeps on giving.

Yet Nolan’s film merely makes those conservative provocateurs sound foolish. At a run time of almost three hours, “The Odyssey” continues the “Oppenheimer” director’s personal war on moviegoers’ bladders. But despite the advance obsession over Nyong’o’s and Page’s characters, the two actors each occupy no more than a few minutes of screen time in a film that stars Matt Damon, Tom Holland and Anne Hathaway. The beauty of being Nolan, at this point, is that his reputation and track record enable him to attract identifiable talent — a la Zendaya, rapper Travis Scott and horror queen Mia Goth — for even smallish roles, a clever means of broadening the film’s appeal.

Musk and others sought to transform that into something nefarious, bizarrely arguing that the diverse casting represented some kind of cynical ploy for awards attention, as well as anti-white bigotry. Never mind that “The Odyssey” is, after all, a mythological tale, so it’s not like the producers cast Nyong’o to play J. Edgar Hoover.

Nolan himself has diplomatically dismissed the right-wing naysaying when asked about it, even as he basks in a torrent of critical praise for the film. Imbued with a visual grandeur that demands to be seen on the biggest screen possible, “The Odyssey” arguably isn’t one of the British filmmaker’s best — movies like “Inception” and “The Prestige” set a very high bar — but it certainly possesses the majesty to qualify as a worthy follow-up to the Oscar-winning “Oppenheimer.”

Brian Lowry

Brian Lowry is a media columnist and critic, most recently at CNN, and before that Variety and the Los Angeles Times.