Title – Oppenheimer (2023) 

Director – Christopher Nolan (Memento) 

Cast – Cillian Murphy, Emily Blunt, Florence Pugh, Matt Damon, Robert Downey Jr., Alden Ehrenreich, Kenneth Branagh, Rami Malek 

Plot – Charts the journey of American scientist J. Robert Oppenheimer (Murphy) and his creation of the worlds first atomic bomb. 

“Now I am become Death, the destroyer of worlds”

Review by Eddie on 24/07/2023

Disclaimer – this review is based on the IMAX 1570 presentation of the film. 

It’s taken me a few days to be able to sit down and write down my thoughts about Christoper Nolan’s newest big screen epic, the other part of the now infamous “Barbenheimer” double bill that has been re-writing record books over there launch weekends, having had this time to ponder and contemplate I am confident in saying that I’ve never seen a film quite like this biopic and while it’s a film with flaws and components that don’t stick their respective landings, Nolan’s film is nevertheless a powerful, poignant and technically marvellous piece of original film-making that further establishes the esteemed director as a generational talent whose skill set is unrivalled. 

It’s incredible to think that a three hour dialogue heavy expose of a theoretical physicist and the creation of the worlds first atomic bomb could become a film that is being viewed on such a scale that Oppenheimer is currently playing too and while it’s clearly been enhanced by the fact Nolan’s heavy hitting drama has been partnered alongside the pink behemoth that’s Barbie, there’s also no denying that audiences are hungry for original content that gives them something more than just another run of the mill experience and that’s exactly what Oppenheimer does. 

Told in a typical Nolan like fashion that refuses to play out in a manner that could said to be stereotypical, Oppenheimer operates in multiple timelines and requires audiences to pay close attention to who is who but despite covering immense ground and delving into far more than just Oppenheimer’s past, present and future or the bomb he was responsible for bringing into existence, Nolan’s film never becomes too complicated or overbearing as clever direction, editing and script work ensures that its three hour runtime will grip anyone willing to go along with it, creating an utterly engaging and even white knuckle experience that is the very definition of what cinema is all about. 

Lead by a long overdue and awards worthy turn from Cillian Murphy as the titular figure, who is ably supported by a string of A-listers that most notably includes key performances from the likes of Emily Blunt as Oppenheimer’s long-suffering wife Kitty, Matt Damon as military head honcho Leslie Groves and Robert Downey Jr. in a scene stealing performance as Lewis Strauss, Oppenheimer is all class on screen as Nolan juggles one of the most stacked ensemble casts of the modern era and while some of his big name performers might only get mere minutes of screentime, each and every one of them brings their A-game to what must surely be regarded as Nolan’s most noteworthy feature yet based on performances. 

Outside of this aspect of Nolan’s masterwork is the technical elements of this big budget affair that includes an unforgettable score by Ludwig Göransson, exemplary editing by Jennifer Lame, beautiful cinematography from the increasingly impressive Hoyte Van Hoytema and sound mixing/editing from Nolan’s team that ensures despite the fact Oppenheimer is very much focused in on the people at the heart of the story, so much of the film still feels like a grand cinematic offering and there are moments within Nolan’s opus that are likely to remain some of the most memorable cinematic moments of recent times, none more so than the breathtaking detonation test scene that left my particular screening as silent as a field mouse. 

I have no doubt that like many of Nolan’s films in the past decade detractors and naysayers will turn their attention to singling out elements of Nolan’s film that may be considered weak points and while there’s going to be further debate about the sound mix of this film and Nolan’s films as a whole, that at times have their dialogue drowned out by the score or other aspects of the mix or the debate that rages about Nolan’s ability to connect on the human level, that is on show here with a strangely cold romantic element between Murphy and Blunt and also with Florence Pugh’s Jean Tatlock (not due to performances, more so development) but allowing your gaze to be directed into these areas as a main point of focus is robbing one of the experience they could otherwise have. 

Building to a crescendo that is both surprising, haunting and unforgettable, it’s unlikely that you will soon forget Oppenheimer, a beautifully staged biopic that is also so many other things all at once, where Oppenheimer ranks amongst all of Nolan’s work will take some time to decide but what’s undeniable is the fact Nolan has once more proved original film-making is alive and well, should one take the time and care to bring it too life. 

Final Say – 

A film that feels unlike any before it, Oppenheimer is a big screen epic that is both grand and intimate, thrilling and confronting and a further addition to the growing legacy of Christoper Nolan to be regarded as one of the most important voices in cinematic history. 

5 bowls of marbles out of 5