0
9.5

POSITIVES
  • Engaging pace
  • Immersive cinematic experience
  • Terrific performances
  • Excellent direction
NEGATIVES
  • First act needs room to breathe
  • Sound design can minimally block dialogue at times

Led by a terrific Cillian Murphy, “Oppenheimer” could be Christopher Nolan’s best film to date, rivaling his other films in emotional scope and intense style.

Synopsis

During World War II, Lt. Gen. Leslie Groves Jr. appoints physicist J. Robert Oppenheimer to work on the top-secret Manhattan Project. Oppenheimer and a team of scientists spend years developing and designing the atomic bomb. Their work comes to fruition on July 16, 1945, as they witness the world’s first nuclear explosion, forever changing the course of history.

Review
How is it possible to make a three-hour film about the life and times of the man who made the atomic bomb an engaging, cinematic experience? Writer-director Christopher Nolan has found a way and it’s his most layered, focused effort yet. “Oppenheimer” follows the life and career of the eponymous physicist J. Robert Oppenheimer (Cillian Murphy), traveling from his studies in college to his time as a professor, culminating into his leadership of the Manhattan Project. This project leading to the creation of the atomic bomb dropped on Hiroshima and Nagasaki in World War II. The film is told through two timelines – the first, shrewdly titled “fission”, covers a subjective view of Oppenheimer and his rise to greatness and notoriety (and the personal moral toll that can come from dangerous “ambition”); the second timeline, presented in black-and-white, titled “fusion”, covers an objective view of Oppenheimer post-Manhattan Project and his fall from grace. “Fusion” also gives voice to a personal foe of Oppenheimer’s – Lewis Strauss (Robert Downey Jr.), a senior member of the United States Atomic Energy Commission who finds himself on the verge of becoming the Secretary of Commerce but has to answer for his dealings and connection to the now-controversial Oppenheimer. These split timelines, coming from a storyteller who loves playing with time itself, present an effective, complex view of a divisive man and his controversial creation.

Coming back to my original point, it says something when a filmmaker can take a subject such as the man who created the atomic bomb and turn that into a tight, quickly paced three hours. But, alas, this film unfolds within its first act at breakneck pace – we soar through affairs, relationships, friendships and alliances all within twenty minutes or so. Sounds impressive and it is…to a fault. The dizzying effect of Nolan pushing us through important moments in “Oppy’s” life within the span of a half-hour episode while pushing us to the narrative’s centerpiece – the Manhattan Project – runs the risk of not giving the story a moment to breathe. But, it’s the tight direction and the terrific score by Ludwig Göransson that makes the rushed pace worth it throughout the entire ride. Göransson’s score pervades almost every moment – tense, emotional or otherwise – similar to how Terence Blanchard’s jazzy trumpet pervades every scene in a Spike Lee film. It’s never overwhelming or overused, it’s simply part of the film’s DNA and helps to create a story of a Prometheus hoisted by his own petard (yes, I know. Two different references, but you get the point). From Act II onwards, the film moves at a nice, engaging pace and then finally takes room to breathe, focusing on the Manhattan Project itself, from inception to completion. The build up to the creation of the bomb (referred to as a “gadget” on-site) is well-paced with Nolan taking his time to introduce all of the players involved, from colleague Ernest Lawrence (Josh Harnett, great), to disillusioned Edward Teller (Benny Safdie, good) to Isidor Isaac Rabi (David Krumholtz, great) and many more. The scene itself where the bomb is tested for accuracy is a sight to behold in an IMAX setting, with Nolan (as expected) using every bit of his generous budget to create an immersive, cinematic experience.

Now, the final pièce de resistance of discussion is two-fold: the sound design and the acting. A huge pain point with previous Nolan films, the sound design of this brilliant and encompassing. With flashes of neurons and soul-shaking atmospheric sound, never has guilt and remorse looked so damn powerful on the big screen. Any worry of Nolan’s obsession with sound design getting in the way of important exposition should be assuaged. Some dialogue can be “affected” by the impeccable sound but there isn’t any important plot point that is blocked or hindered by Nolan’s eternal ambition. Now, when it comes to casting, there is seriously no weak link in this ensemble. Leading with Murphy himself – the actor seamlessly sinks into the role, adapting the swagger-like walk of this brilliant yet complex man, brilliantly toeing the line between charisma and arrogance, pride and guilt, ambition and remorse. Every complicated emotion is expressed perfectly by this film’s leading man (in all-encompassing IMAX). As a terrific foil to the film’s lead, Robert Downey Jr delivers a pitch-perfect performance as Struass. Adapting a nervous-like walk in contrast to his leading foe, he takes an understated backseat, observing the complex genius that is Oppenheimer while also providing his keen insight into the man and his destructive pride. If Cillian Murphy is the film’s top selling point, RDJ is definitely the film’s secret weapon. He steals the show in almost every scene he’s in, reminding us that this brilliant actor was (and still is) more than just a charismatic leading man in Marvel films. Florence Pugh also shares her part of the shine as Oppenheimer’s former lover, the troubled communist Jean Tatlock. Her scenes shared with Murphy are powerful, sensual and emotionally devastating. Emily Blunt, taking over the role of Oppy’s wife, Katherine, brings terrific understated gravitas to the role, saving her scene-stealing moment for the latter half of the film when her character is intensely questioned by Roger Robb (Jason Clarke, also great). Matt Damon is a brilliant, inspired choice for hard-ass military handler Leslie Groves, who appoints Oppenheimer to the role as head of the project. So many other great supporting actors here – Tom Conti as Einstein, Casey Affleck as Boris Pash, Gary Oldman as Harry S. Truman, even Rami Malek has a solid blink-and-you-may-miss-him role as David Hill. Everyone shows up, everyone gets their moment and a well-made film is made even better for it.


Closing Thoughts
“Oppenheimer” is arguably Christopher Nolan’s most detailed and involving film to date. Call it his “Zodiac” (another great film with RDJ), a film concerning a real-life subject that its director was everything but destined to bring to awe-inspiring life. Par the course for every Nolan film (for better or worse), this film was made to be experienced in theatres. Time will tell what will come of this “Barbenheimer” craze. But hopefully, “Oppenheimer” will be remembered as a film with terrific emotional scope and an immersive cinematic style, creating an awe-inspiring story about a man who created a device to change the world…and in turn, may have contributed to the world’s demise instead.


Trailer

Blak Cinephile
Blak Cinephile is a cinephile who both loves film and loves to write/talk about it. He has a genuine respect for the art of cinema and has always strived to find the line between insightful subjectivity and observant objectivity while constructing his reviews. He believes a deeper understanding (and a deeper love) of cinema is borne through criticism.

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