Christopher Nolan deserves every superlative for his brilliant take on J. Robert Oppenheimer (a flawless Cillian Murphy), the dark knight of the atomic age. This terrifying, transfixing three-hour epic emerges as a monumental achievement on the march into screen history.
Christopher Nolan's Oppenheimer is a tremendous, large-scale biopic that hits at the nuances of its subject, his political history, and the disastrous results of his work and its far-reaching implications for future generations.
Oppenheimer is one of those shoot-for-the-moon projects that feels thrilling and wonky, brilliant and overstuffed, too much and yet not enough. It’s also a movie that brings to mind the difficult era-spanning epics of yesteryear, from Reds to The Right Stuff, and is a movie made by adults for adults yet done with the sweep and majesty we now associate with movies made for kids and teens.
The true test of 'Oppenheimer' is whether Nolan can maintain his typically mammoth vision with a narrative that mostly comprises white men talking in small rooms. Like his protagonist, the writer/director succeeds in a grand and unexpectedly horrifying fashion.
What you will piece together during the first viewing—including marvelous grace notes such as Oppenheimer’s taste for syrup-dipped cocktail glasses—will be enough to keep you glued to the action.
By the time Oppenheimer ends, it becomes more about the interpersonal problems of two miniscule men—miniscule, at least, against the backdrop of the cataclysmic, world-destroying questions and implications it had been exploring.
With all of its quick cuts and time-hopping, Oppenheimer behaves like a film that’s worried that it won’t have the space to fit everything it wants to say and do into three hours. Then it exhausts its welcome in the service of reiterating points. Then it delivers lectures in case you missed the earlier rounds. It knows how to blow up the world, but it doesn’t know when to quit.
10/10 masterpiece
Oppenheimer is Nolan’s “biased masterpiece” which delves in the world of the scientist J Robert Oppenheimer, in an experience which you can call a character study.
The movie is fast-paced ,which can be overwhelming for most viewers at first , due to the tons of info you are supposed to grasp in a short period of time so I recommend you learn about Oppenheimer before entering the movie.
Nolans movie goes through the journey of the discovery of the atomic bomb , however; whithout sinking to much in Science. We can say Nolan learned from his mistakes in Interstellar and Tenet.
Although I like the movie , I must admit that the movie is not an unbiased biography which is expected from Christopher Nolan. Nolan , in multiple scenes , sympathizes with our protagonist and clears him of any allegations accusing his morality. If you ,like me, are a fan of The Social Network, The Imitation Game or Fasbender’s Steve Jobs , this detail is going to upset you.
Another warning:If you are expecting an action - war movie , youre in the wrong place buddy. The movie is heavily dependent on dialogue
It was boring and political. I came for the science and got a bunch of irrelevant affairs, infighting and power struggles. Nor was he particularly interesting as a person. The "trial" was painful to watch and not interesting. Predictable. I would have enjoyed a movie centered around Feynman instead.
This movie is the actual definition of watchable once. The length of the movie made to play chess, or just do anything else while the movie was going. Happy i didn't watched this at the cinemas.
Not very compelling to watch. I lost attention quickly. I usually love historical films and the director Nolan. But the scenes move along so fast with the pacing. feels like TENET. Just moving and jumping to each scene. Lots of dramatic romance and friendships that feels hollow and no attachment. No building of relationships. I have no attachment to anyone.
Director Christopher Nolan repeated the same mistakes he made when directing TENET, and extended it to three full hours of boredom. The loud and tiring soundtrack and diegetic sounds drown out any important dialogue; the pacing is messy; the theme is lackluster; overall, aside from two or three significant scenes, everything else about the film makes it a typical, shallow, prolific actor-filled attempt at something meaningful.
Nolan does not have the insight or tools to make a historical film of this scale. His film adds nothing to the legacy of J. Robert Oppenheimer.