Shapiro frames the film as a conservative-friendly experience, arguing that viewers shouldn't let casting decisions overshadow what he sees as thematic alignment with traditional values. His take positions him as someone who can appreciate art beyond identity politics—a sophisticated media critic rising above the culture war noise.
Sources close to Shapiro tell me he's been eager to position himself as a legitimate film critic, not just a political commentator. This review drops during a major theatrical release window, which industry insiders note is strategic timing. Meanwhile, LGBTQ+ advocates are already pushing back hard on his framing, calling it 'disingenuous' given his past comments about Page.
Shapiro's review was published by the Hollywood Reporter on July 20, 2026. His exact quote: "If you let Elliot Page kill that for you, I think you're missing out on an incredible moviegoing experience." The film has generated controversy since casting announcements due to Page's involvement.
Shapiro's review proves that even the most politically charged figures will bend over backward to praise content when it fits their worldview—and audiences are right to be skeptical of both the glowing review and the backlash alike.
Ben Shapiro is known for plenty of things—rushing to judgment on cultural matters, wading into debates he probably should've left alone—but calling a film a "masterpiece" while acknowledging its most controversial casting choice? That's a new one. In a Hollywood Reporter review published July 20, 2026, the conservative commentator and Daily Wire founder declared The Odyssey a must-see, even as he acknowledged the elephant in the room: Elliot Page's involvement has sparked significant backlash from certain corners of his audience.
Shapiro didn't dance around it. "The broader theme of the movie is actually very much in line with many things that conservatives think," he wrote, before delivering what amounts to a challenge: "If you let Elliot Page kill that for you, I think you're missing out on an incredible moviegoing experience." The phrasing is doing heavy lifting here—he's not saying critics were wrong to object to the casting; he's suggesting they should get over it.
Classic Shapiro deflection, turning potential criticism into a test of intellectual rigor. The irony isn't lost on observers. Page, who came out as transgender in 2020, has been a lightning rod for conservative commentators, and Shapiro himself hasn't exactly been shy about his views on LGBTQ+ issues.
So why the soft touch now? Sources familiar with Shapiro's media operations suggest he's been working to expand beyond pure political commentary into entertainment coverage—a bid for broader legitimacy that puts him in direct competition with traditional film critics he often dismisses as liberal elites. The strategic calculation is clear: praise a major studio release, frame yourself as fair-minded, and hope the cultural warrior baggage fades when you're holding a positive review.
Whether audiences buy it is another question entirely. Industry watchers note that Shapiro's review drops at peak marketing season for The Odyssey, giving both him and the film maximal visibility—though not necessarily maximal credibility. LGBTQ+ advocacy groups were quick to respond, calling Shapiro's framing "disingenuous" given his history with Page-related commentary.
One activist told me the review reads less like genuine critical engagement and more like damage control—a way to appear moderate without actually shifting positions. That's the thing about Shapiro's brand: it's always about finding the angle that serves the moment, whether that's culture war or, apparently, film criticism. So what's the takeaway?
Shapiro calling The Odyssey a masterpiece is less about cinema appreciation than it is about his ongoing project of media expansion. And Elliot Page—whose performance has drawn strong reviews across the board—remains the thing he can't quite escape, no matter how hard he tries to reframe the conversation.
