Image via Melinda Sue Gordon / © Universal Pictures / Courtesy Everett Collection
Updated Aug 3, 2026, 7:38 AM EDT
Emilio Gabriel Lapitan is a writer and aspiring author. A lover of stories of any kind, he is passionate about video games, TV, movies, theatre, comic books and cats.
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Humanity’s storied history never ceases to entertain us. From modern history and its major conflicts to Ancient Rome to Feudal Japan, many films have been inspired by or adapted from historical stories and events, with many succeeding commercially or receiving critical acclaim. The historical epic has proven itself to be a breeding ground for prolific and highly acclaimed directors to show off their chops and deliver an exemplary experience that only film could recreate.
Filmmakers love to revisit historical stories and, just as much, historical myths. Ancient Greece, therefore, is a breeding ground for some of the medium’s most gripping tales, mixing the power and truth of a historical epic with high fantasy and creativity that draws in wider audiences. Whether you’re a fan of the Underworld and the Olympians, or the era of antiquity that Ancient Greece embodies, there are more than a few films that every budding classicist might enjoy.
20 'Hercules' (2014)
Image via Paramount PicturesHercules is one of two films about the classic Greek hero released in 2014 following The Legend of Hercules, a 3D origin story by Renny Harlin. The Legend of Hercules is one of the worst films ever made and features a terrible performance by Kellan Lutz as the titular hero, but Hercules is at least entertaining because of the star power of Dwayne Johnson.
It’s hard to imagine a more perfect casting choice than Johnson as Hercules, given that he is described as being the strongest, bravest, and most morally upstanding of all the Greek heroes. Although Hercules might have been a bit more entertaining if it had the freedom to be Rated R, it does feature some clever reframing of the Greek legend that shows the reality behind how Hercules became a folk hero, and how it inspired supernatural explanations. —Liam Gaughan
19 'Wonder Woman' (2017)
Image via Clay Enos. ©Warner Bros./courtesy Everett CollectionWonder Woman is not only the film that redeemed the DCEU after the disastrous creative decisions by Zack Snyder, but one that drew from Greek mythology that had been established in DC Comics. Themyscira is loosely inspired by mystical city-states in the myths, and the film features a commanding villainous performance by David Thewlis as Ares, the God of War, who has disguised himself as a mortal.
Wonder Woman stood out compared to the other DCEU films because it wasn’t afraid to embrace the mythology of the comics and show the silly, exciting, and optimism presented in these stories of heroism. One of the major reasons why Wonder Woman 1984 was such a disappointing sequel was that it was more inspired by ‘80s nostalgia and did not feature the grounding in mythology that had made the original such a breath of fresh air. —Liam Gaughan
18 'Percy Jackson and the Lightning Thief' (2010)
Image via 20th Century StudiosThis one is for the young adult fiction fans out there. Percy Jackson and the Lightning Thief is based on the 2005 young adult novel of the same name, the first in the Percy Jackson & the Olympians series. Directed by Chris Columbus, this 2010 fantasy adventure film stars Logan Lerman as Percy Jackson, a seemingly normal boy who is forced to journey across the United States in order to recover Zeus’ stolen lightning bolt.
Especially with the recent release of the Disney+ series, there is no better time than the present to go back and experience the original adaptation of Rick Riordan's classic YA series. Percy Jackson is brimming with parallels and references to many iconic characters and stories from Greek mythos, acting as the perfect modernization and contemporary version of these stories. While not as accurate to the books as the new streaming series is, the original feature-length adaptations are still filled with enough charm and quirks to make them worth a watch.
17 'Immortals' (2011)
Image via Relativity MediaA massive high-budget historical epic that retells the story of Theseus and the Minotaur, Immortals sees Henry Cavill as the legendary Greek hero, who is chosen by Zeus to lead an army in his name. As the deadly and treacherous King Hyperion continues his onslaught across Greece in search of a weapon that has the potential to destroy humanity, it becomes up to Theseus and his army to put a stop to the mad king and save humanity.
While Immortals may seem relatively simple in its adaptation of a classic Greek tale, the true highlight of the film comes from its exceptional execution and delivery on all fronts. Director Tarsem Singh provides a distinct creative vision and visual clarity throughout Immortals that helps the film massively stick out when compared to other stylized historical epics of the era. Cavill also does a tremendous job as Theseus, in what can easily be considered one of his greatest acting roles to date. —Robert Lee
16 'O Brother, Where Art Thou?' (2000)
Image via Buena Vista PicturesO Brother, Where Art Thou? is one of the best films written and directed by the Coen brothers, who used the story of The Odyssey to inspire a Deep South adventure epic about an escaped prisoner named Ulysses (George Clooney) who escapes prison in an attempt to return home; “Ulysses” is another iteration of “Odysseus,” and the other characters in the film correspond to different characters in The Odyssey, including John Goodman as a version of the Cyclops.
O Brother, Where Art Thou? received an Academy Award nomination for Best Adapted Screenplay for the ways that the Coens took a creative and hilarious spin on the classic Greek story, and it also inspired a bluegrass soundtrack that became even more popular than the film; it wasn’t just the bestselling album of 2000, but a major winner at the Grammy Awards. —Liam Gaughan
15 'Wrath of the Titans' (2012)
Image via Warner Bros.Wrath of the Titans is the sequel to the 2010 remake of Clash of the Titans that continued the story of Perseus (Sam Worthington) and his battle to protect mankind from the gods. Neither film is what could be described as “great cinema,” but it’s reasonably entertaining and embraces more aspects of Greek mythology than its predecessor.
The best part of both Clash of the Titans and Wrath of the Titans is the dynamic between Liam Neeson and Ralph Fiennes as Zeus and Hades, respectively. They’re two of the greatest living actors, and it's fascinating to see them reunite several decades after they both earned their breakout roles in Schindler’s List. Neeson has the authority and menace needed to convey the most powerful God in Olympus, and Fiennes seems to be having a blast chewing the scenery as a villain who simply loves to be evil. —Liam Gaughan
14 'Ulysses' (1955)
Image via Paramount PicturesStarring Hollywood icon Kirk Douglas, 1955’s Ulysses is a forgotten and underrated example of the Golden Era’s ability to produce mighty period epics with rousing drama and sensational technical craft. Based on Homer’s Odyssey, it follows Ulysses (Douglas) in the aftermath of a decade of war and the siege of Troy as he sets out on a perilous journey to return to his kingdom. All the while, the subjects of his kingdom, growing impatient and weary, implore Queen Penelope (Silvana Mangano) to select a new husband.
It is not quite in the same echelon as the greatest of 50s Hollywood’s greatest epics, but it does bear many of the same hallmarks. The end result is a triumphant drama that blends fantasy and adventure together with great skill, all while realizing Homer’s epic with an engaging sense of gravitas.
13 'Hercules' (1997)
Image via DisneyDisney’s 1997 animated classic is a fantastic offering of family fun that, while being perfect for children, is also thoroughly enjoyable for adults who have an interest in Greek mythology. Having been stolen away by Hades (James Woods) as a baby, Hercules (Tate Donovan), the son of gods, is raised among mortals as a half-god, half-human hybrid. Grappling with his powers as he reaches adolescence, he is given a task to trek to Mount Olympus to prove himself worthy of living among the gods.
Fast-paced and exciting, and mixing effervescent animation, musical beats, comedy, and adventure with aplomb, Hercules still holds up as a thrilling family adventure. Bringing many famous figures of Greek mythology to the screen with accuracy while maintaining Disney’s fun, kid-friendly appeal, Hercules has something to enthrall lovers of Greek mythology of all ages.
12 'The Killing of a Sacred Deer' (2017)
While not set in or about Ancient Greece, The Killing of a Sacred Deer still deserves your time and attention as a film that perfectly understands and adapts the themes and message of a Greek classic. This psychological horror, directed by Yorgos Lanthimos, stars Colin Farrell, Nicole Kidman, Raffey Cassidy, and Sunny Suljic as the Murphys, a family that begins to fall severely ill after befriending a mysterious young man (Barry Keoghan).
What fans of Ancient Greece will love about this film is how it serves as a chilling adaptation of Agamemnon’s offense against the goddess Artemis in the lead-up to the Trojan War. The film takes a wild and unorthodox approach to retelling this story, a gambit that pays off masterfully to create a massive independent hit among audiences and critics. With a modern setting and elements of horror, Lanthimos (also known for directing The Lobster and Poor Things) and The Killing of a Sacred Deer engage with the grim Greek parable in a unique, genre-defining way.
11 'Black Orpheus' (1959)
Image via Dispat FilmsDirected by Frenchman Marcel Camus, Black Orpheus is a contemporary retelling of the Greek myth of Orpheus. Set in Rio de Janeiro during Carnaval, it follows two young lovers: Orfeu (Breno Mello), a tram driver and musician stranded in a loveless relationship, and Eurydice (Marpessa Dawn), a runaway new to the area who is being stalked by Death. As they pursue their budding romance, complicated factors from each of their lives jeopardize their relationship.
Winning the Oscar for Best Foreign Language Film, Black Orpheus is a pivotal picture in the context of Brazilian cinema and South American film, one that mixes the nation’s culture with the Greek legend with aplomb. Also winning the Palme d’Or and a Golden Globe, its influence on international cinema can’t be overstated. It remains one of the most brilliant and stylistically commanding adaptations of Greek mythology ever put to screen.
Collider Exclusive · Oscar Best Picture Quiz
Which Oscar Best Picture
Is Your Perfect Movie?
Parasite · Everything Everywhere · Oppenheimer · Birdman · No Country
Five Oscar Best Picture winners. Five completely different visions of what cinema can be — and what it can do to you. One of them is the film that was made for the way your mind works. Ten questions will figure out which one.
🪜Parasite
🌀Everything Everywhere
☢️Oppenheimer
🐦Birdman
🪙No Country for Old Men
FIND YOUR FILM →
01
What kind of film experience do you actually want? The best movies don't just entertain — they leave something behind.
ASomething that pulls the rug out — that makes me think I'm watching one kind of film and then reveals I'm watching another entirely. BSomething overwhelming — funny, sad, absurd, and genuinely moving, all at once. CSomething grand and weighty — a film that makes me feel the full scale of what I'm watching. DSomething formally daring — a film that pushes what cinema can even do. ESomething lean and relentless — pure tension with no wasted frame.
NEXT QUESTION →
02
Which idea grabs you most in a film? Great films are driven by a central obsession. What's yours?
AClass, inequality, and what people are willing to do when desperation meets opportunity. BIdentity, family, and the chaos of trying to hold your life together when everything is falling apart. CGenius, moral responsibility, and the catastrophic weight of a decision you can never take back. DEgo, legacy, and the terror of becoming irrelevant while you're still alive to watch it happen. EEvil, chance, and whether moral order actually exists or if we just tell ourselves it does.
NEXT QUESTION →
03
How do you like your story told? Form is content. The way a story is shaped changes what it means.
AGenre-twisting — I want it to start in one lane and migrate into something completely different. BMaximalist and genre-blending — comedy, action, drama, sci-fi, all in one ride. CEpic and non-linear — cutting between timelines, building a mosaic of cause and consequence. DA single unbroken flow — I want to feel like I'm living it in real time, no cuts to safety. ESpare and precise — every scene doing exactly what it needs to do and nothing more.
NEXT QUESTION →
04
What makes a truly great antagonist? The opposition defines the protagonist. What kind of opposition fascinates you?
AA system — invisible, structural, and almost impossible to fight because it has no single face. BThe self — the ways we sabotage, abandon, and fail the people we love most. CHistory — the unstoppable momentum of events that no single person can stop or redirect. DThe industry — the machinery of culture that chews up talent and spits out irrelevance. EPure, implacable evil — a force so certain of itself it becomes almost philosophical.
NEXT QUESTION →
05
What do you want from a film's ending? The final note is the one that lingers. What do you want it to sound like?
AShock and inevitability — a conclusion that recontextualises everything that came before it. BEarned emotion — I want to cry, laugh, and feel genuinely hopeful, even if the world is a mess. CDevastation and grandeur — an ending that makes me sit in silence for a few minutes after. DAmbiguity — something that leaves enough open that I'm still thinking about it days later. EBleakness — an honest refusal to pretend the world is tidier than it actually is.
NEXT QUESTION →
06
Which setting pulls you in most? Where a film takes place shapes everything — mood, stakes, what's even possible.
AA gleaming modern city with a hidden underside — beauty masking rot, wealth masking desperation. BA collapsing suburban life that opens onto something infinite — the multiverse of a single ordinary person. CThe corridors of power and science at a world-historical turning point — where decisions echo for decades. DThe grimy, alive chaos of New York and Hollywood — fame as both destination and trap. EVast, indifferent landscape — desert and highway where violence arrives without warning or reason.
NEXT QUESTION →
07
What cinematic craft impresses you most? Every great film has a signature — a technical or artistic element that makes it unmistakable.
AProduction design and mise-en-scène — every frame composed to carry meaning beneath the surface. BEditing and tonal control — the ability to move between registers without losing the audience. CScore and sound design — music that becomes inseparable from the dread and awe of what you're watching. DCinematography as performance — the camera not recording events but participating in them. ESilence and restraint — what's left unsaid and unshown doing more work than any dialogue could.
NEXT QUESTION →
08
What kind of main character do you root for? The protagonist is the lens. Who you choose to follow says something about you.
ASomeone smart and resourceful who makes increasingly dangerous decisions under pressure. BSomeone overwhelmed and ordinary who turns out to be capable of something extraordinary. CA brilliant, tortured figure whose gifts and flaws are inseparable from each other. DA self-destructive artist whose ego is both their superpower and their undoing. EA quiet, principled person trying to make sense of a world that has stopped making sense.
NEXT QUESTION →
09
How do you feel about a film that takes its time? Pace is a choice. Some films sprint; others let tension accumulate slowly, deliberately.
AI love a slow build when I know the payoff is going to be seismic — patience for a devastating reveal. BGive me relentless momentum — I want to feel breathless and emotionally spent by the end. CEpic runtime doesn't scare me — if the material demands three hours, give me three hours. DI want it to feel propulsive even when nothing is technically happening — restless energy throughout. EDeliberate and unhurried — I want dread to accumulate in the spaces between the action.
NEXT QUESTION →
10
What do you want to feel walking out of the cinema? The best films leave a mark. What kind of mark do you want?
AUnsettled — like I've just seen something I can't fully explain but can't stop thinking about. BMoved and energised — like the film reminded me what actually matters and gave me something to hold onto. CHumbled — like I've been in the presence of something genuinely important and overwhelming. DExhilarated — like I've just seen cinema doing something it's never quite done before. EHaunted — like a cold, quiet dread that stays with me for days.
REVEAL MY FILM →
The Academy Has Decided Your Perfect Film Is…
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.
Parasite
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.
Everything Everywhere All at Once
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.
Oppenheimer
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.
Birdman
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.
No Country for Old Men
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.
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