Oppenheimer (2023)
For all of the hype built up over the leadup to its release, Oppenheimer is a very ordinary movie about an ostensibly extraordinary figure. That this is for much of its three-hour runtime a series of conversations public and private, men and women meeting in Senate hearings or secretive kangaroo court tribunals, laboratories or house parties, is not a bad thing in the least. But that this is getting such a rhapsodic popular reception for a film which, for all of its pomp and self-important bluster still has all of Christopher Nolan's usual flaws and shortcomings as a screenwriter, is disappointing. Nolan is best leaving the writing to someone else. His typical mode as a screenwriter is to crystallize what he determines to be his thesis into one repeated phrase. In Interstellar, it's Michael Caine reciting Dylan Thomas poetry, in The Dark Knight, it's Morgan Freeman musing that one man shouldn't be able to universally surveil, and in Dunkirk, it's Kenneth Branagh wistfully saying 'home'. In Oppenheimer, there are twofold statements to cover the disparate arms of the narrative: scientists remind or admonish that theory can only get you so far, and Strauss speaks of controlling the political narrative to get ahead. That these phrases exist aren't so bad in and of themselves, but the issue comes more in the frequency with which they are used. It becomes a relentless sledgehammer that slowly beats away all subtlety and nuance, creating the impression once again that Nolan doesn't trust the audience to "get" it if he doesn't drive home the point time and again.
Jumping between the Manhattan Project and hearings which sought to bring the Father of the Atomic Bomb to his knees, Oppenheimer considers the man and the legend. The man isn't given as much attention as far as his emotional interiority is considered: for being so long, the opening act rushes through character beats like flash cards. Key players introduced and dismissed in bullet point scenes while Oppenheimer accumulates trauma. Oppenheimer's greater existential concerns vis à vis the Bomb are more important. This inert atmosphere pervades much of the film, feeling cold rather than cerebreal as it might have hoped to be. The political angle of the film was dull, barely more than a typical Red Scare playbook which has been hashed through a million times before: fear of Communism created an ironically repressive attitude toward free thought. This is commonly dealt with in the form of public humiliation by hypocritically un-American Kafkaesque show trials and rah-rah conformism. I wish this had dug more into the gnarly, knotty scientific conversations taking place in the Manhattan Project, laying bare the human error potential in such conversations as Great Minds meet. This is more of a long trailer for a concept rather than a sincere and honest dissection of it, but he shot it on IMAX so let's all laud it!
THE RULES
SIP
Someone says 'bomb'.
Oppenheimer looks like a pet in one of those Sarah McLachlan SPCA videos.
The film shifts to or from black and white.
BIG DRINK
tHeOrY cAn OnLy GeT YoU sO fAr
Black dress moment.
ANXIETY SOUND DESIGN
1 note
·
View note
I bet he also thinks coolsville sucks.
35K notes
·
View notes
When Cillian can’t handle with compliments 😅
4K notes
·
View notes
The Oppenheimer cast walking out on their own event to stand in solidarity with the SAG / WGA strike was dope as hell I am obsessed
3K notes
·
View notes
The way the “Now I am become death, the destroyer of worlds” quote was introduced in Oppenheimer during a sex scene is fucking hilarious. Christopher Nolan was so wild for choosing to do it like that.
1K notes
·
View notes
Ben Affleck wearing a gray shirt with the famed Photobooth picture of a younger him and Matt Damon with the text 'DAY ONES' underneath while carrying the weight of the world (aka dunkins).
609 notes
·
View notes
Robert Downey Jr.: 'By the way, Matt Damon is generally included in the homies, but I think he's shooting a Dunkin' Donuts commercial right now.'
[Emily and Cillian laugh]
Cillian Murphy, Emily Blunt and Robert Downey Jr. on 'Oppenhomies'
671 notes
·
View notes