Directed by:
Christopher NolanScreenplay:
Christopher NolanCinematography:
Hoyte van HoytemaComposer:
Ludwig GöranssonCast:
Cillian Murphy, Matt Damon, Robert Downey Jr., Emily Blunt, Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, Tom Conti, Benny Safdie (more)VOD (4)
Plots(1)
Experience the breathtaking global phenomenon that has captivated audiences around the world. Written for the screen and directed by Christopher Nolan, Oppenheimer thrusts audiences into the mind of physicist J. Robert Oppenheimer (Cillian Murphy), whose landmark work on the Manhattan Project created the first atomic bomb. (Universal Pictures UK)
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Reviews (19)
Nolan is the Dr. Manhattan of contemporary Hollywood. And perhaps will be for another two decades at least. At the peak of his creative powers, he can afford a three-hour conversation colossus, which subjectively lasts a third less, because the level of precision of all creative components is on an absolute level. Actually, even the most coveted gold-plated statue is completely understandable. And yet something is missing. Perhaps a bit of personal passion in front of and behind the camera. Without hesitation, however, this is the only film by the director that I know I will probably never watch again. PS: Sex in the interrogation room is probably the biggest cringe moment in Nolan's filmography. No debate about it.
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Curriculum vitae not inside out, but into pieces. Countless micro clashes and seemingly fleeting relationships wrapped in the construction of one city, one attempt, and two checks. All in the avalanche of phenomenal acting performances led by Downey, Florence Pugh, and of course the torn shadowy antihero. And at the heart of it all, a ticking and waiting emotional payload that knows that selfish people rarely know that they are selfish. In the gradual conclusion, despite the air-conditioned cinema, I felt the weight of the moment on me, drops of sweat from nervousness and from the absolute immersion in key scenes.
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A focused Nolan, a perfect Cillian Murphy and a roaring Ludwig Göransson in a history lesson I've always wanted to see. The suffocating atmosphere, disturbed only by the celebration of the Trinity explosion, sticks to the palate, and at times you feel sick of what could have been. If Hitler hadn't shot himself, they would have dropped the nukes in Europe. Oppenheimer's life of communism, his wives, his nightmares, his friends and his enemies are all engulfing, and for three hours they don't let go, whether it's black and white conversations or the simulation of a nuclear explosion. The horrific ending with Einstein still resonates with me. “Now I am become death, the destroyer of worlds.”
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I went to the cinema thinking that Christopher Nolan wouldn't make just a biopic. Well, it's basically a biopic for at least the first hour and a half. A bit more playful in terms of working with time planes, but above all, it's audiovisually imaginative and engaging in a way that all those academy-praised films like The Theory of Everything have little chance of capturing my attention anymore. Moreover, Nolan switches gears a little bit in the middle and starts to play a lot more with individual plot lines as well as genres, so that after the more daringly conceived biopic (which looks great in IMAX), Oppenheimer turns into a horror film at times, a psychological drama at others, and isn't afraid to be a courtroom thriller that even Aaron Sorkin would applaud. It's a bit of a shame that Nolan doesn't have more faith in his audience and always ends regurgitating what might seem a bit complex for the unfocused into a few sentences. I'd certainly have liked it if he'd pushed the line about the responsibility of scientists more and generally gone more in depth with the main character himself, but those are just small things. I was entertained by Oppenheimer for the entire three hours, whether Nolan was playing with image, sound, pacing and genres, or sticking to more traditional storytelling techniques, and just spicing them heavily with his audiovisual mastery.
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In his most mature and least audience-friendly film, Christopher Nolan draws in and astonishes viewers of all levels of intelligence and education with three hours of talk about nuclear physics and politics. I bow down before him. Filming such a focused, perfectly acted, informationally rich and thoughtfully assembled mosaic of events that remains interesting and historically accurate throughout its runtime in just 57 days is a display of filmmaking mastery. The fact that Nolan was aided in this by a subject that concerns and terrifies each of us is not a crutch. Which other director could bring such verve to this subject matter? The intensity and urgency of the film’s narrative are again boosted by the clamorously mixed soundtrack by the wizard Ludwig Göransson (Tenet), which is worthy of admiration in its own right due to its originality and the creativity in the details. Brilliant stylisation of the characters, editing and casting of actors that you wouldn’t expect and who fit perfectly (Benny Safdie rules!). A those two crucial scenes built on essential filmmaking elements without digital aids are absolutely fantastic. Immediately after the film ended, I had mixed feelings, as I had expected something different, as perhaps each of us did. But as time passed, Oppenheimer grew on me and I’m glad that Nolan did it his way.
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