Aaron Barrow
In a world populated with derivative genre films that have become increasingly less beloved in recent years and months, it is refreshing to have a high-budget major studio release that is as risky as Christopher Nolan’s latest hefty motion picture.
“Oppenheimer” is an astounding piece of filmmaking that is, at times, more akin to a horror film than a run-of-the-mill biopic. The movie follows a physicist, Robert Oppenheimer, and a team of scientists as they spend years developing and designing the atomic bomb. It’s a film that is more comparable to Pablo Larrain’s Princess Diana psychological drama “Spencer” than Bryan Singer’s uninspired “Bohemian Rhapsody.” Like Larrain, Nolan uses dreamlike sequences and unique framing devices that elevate the screenplay from compelling to awe-inspiring.
Much of the wonder can be attributed to the camerawork. Four-time Nolan collaborator and cinematographer Hoyte Van Hoytema once again lends a steady hand to Nolan’s production that perfectly captures the wonder and terror of this historical depiction. As in 2017’s “Dunkirk”, Nolan grasps that the complexity of our world and its inhabitants are best captured by allowing the frame and performances to speak for themselves.
Nolan entrusts his star-studded cast with his dialogue-heavy screenplay, and they more than show up to the task.
Cillian Murphy, having finally been gifted the role of leading man in a major blockbuster, delivers in ways that left me awestruck. While he was always guaranteed to succeed, he turns in a career-defining performance that will be talked about for years to come.
Robert Downey Jr., now freed from Disney’s contractual obligations, gives arguably the performance of his career in a shockingly tense portrayal of Lewis Strauss. Hopefully Downey continues down this path before Marvel inevitably drags him back into the abyss for a quick buck. Emily Blunt and Matt Damon are also standouts among the fully capable A-list cast.
Despite the bulky run time, the film manages to mostly maintain its swift pace outside of a slightly misguided final act. The swiftness is largely due to the film’s structure and editing style that keeps things fresh and stylized. The presentation is only outdone by Ludwig Gorannson’s haunting composition, which, much like the film itself, toes the line between eerie and beautiful in a euphoric cacophony of sound and fury.
“Oppenheimer” is a remarkable achievement for all involved – a soul-crushing character study that thrives on its insistence to not shy away from harsh truths. It is both an admirable depiction and a striking condemnation of its titular figure. While it could have benefited from more of the latter, Nolan should be applauded for embracing the complexities and contradictions of his subject. The impact this film left on me cannot be understated.
“Oppenheimer” is in theaters now.
