Oppenheimer is an exceptionally immersive cinematic experience, delving into the life of Robert Oppenheimer, the father of the atomic bomb. This dense, three-hour history lesson is at once both an intimate character study and a historical epic on an enormous scale.
In contrast to Christopher Nolan's usual action-packed films, Oppenheimer is primarily a drama. Yet, it retains Nolan's distinct filmmaking style by utilising IMAX cameras to create an immense and immersive experience. The IMAX technology is applied uniquely here, capturing breathtaking closeups of the actors' performances rather than solely focusing on action and establishing shots. Notably, the film utilises black and white IMAX for the first time, to beautiful effect.
And just like the cinematography, Nolan's approach to music doesn't change with the more intimate story either. The music is just as loud, bombastic, and rousing as his previous films. Ludwig Göransson returns having previously composed the music for Tenet. With this score, he completely reinvents himself. The score is more classical compared to his previous work. Yet it is no less exciting here.
In a typical Nolan fashion, Oppenheimer employs an unconventional narrative structure, splitting the biopic into two distinct storylines: Fission and Fusion. Fission provides Oppenheimer's subjective perspective in colour, offering glimpses into his awe-inspiring yet terrifying psyche. Fusion, shot in black and white, is centred around a 1959 Senate confirmation hearing for Lewis Strauss, portrayed remarkably by Robert Downey Jr.
Cillian Murphy delivers a standout performance as Oppenheimer, with an understated yet Oscar-worthy portrayal. He embodies Oppenheimer flawlessly, capturing his accent, physical presence, and emotional depth. The haunting look in his eyes after the atomic bomb's detonation over Hiroshima is particularly astonishing.
The film also has one of the most incredible ensemble casts I've ever seen. Nolan has spoken about how he wanted to avoid having composite characters in this film, meaning the cast is enormous. Matt Damon, Emily Blunt, Florence Pugh and Robert Downey Jr get the most to do from the supporting cast, yet the film is rounded out by big-name actors in roles both big and small. Gary Oldman, Benny Safdie, Dane Dehaan, Alden Ehrenreich, Mathew Modine, Josh Hartnett, Tom Conti and Jason Clarke all bring weight to roles that could have been forgettable.
While the film is short on action, it has one of the most nerve-wracking, suspenseful and incredible set pieces I have seen in the form of the Trinity Test. In true Nolan fashion, he somehow manages to recreate the first atomic bomb test without the use of CGI. The explosion itself is both beautiful and frightening. There are shots where it feels like this colossal explosion is so large that even the IMAX cameras cannot fully capture it. The setup is equally, if not more impressive, to this sequence. It is incredibly orchestrated, with Göransson's score reaching unimaginable heights in tension. The build-up was one of the most heart-pounding cinematic moments I've ever experienced.
For all its brilliance, the film is not perfect. The last act is not quite as compelling as the first two hours leading to the Trinity Test. While still very engaging, the post-war hearings don't have the same stakes as the race to create the atomic bomb. And while the scene in which Oppenheimer gives a speech following the dropping of the bomb on Hiroshima is phenomenal, I wish we got more scenes like this, which brilliantly show us how conflicted and horrified Oppenheimer was about his creation post-war. Nonetheless, the film's final scene is both powerful and haunting in this regard.
Oppenheimer's relationships with the two most influential women in his life, played by Emily Blunt and Florence Pugh, also felt a little underdeveloped. While the film is huge, dense and fast-paced, a greater emphasis on these pivotal relationships would have been beneficial. While Blunt has a fantastic scene towards the film's end, I wish we got a deeper look at her relationship with Oppenheimer. As for Pugh, I found her relationship with Oppenheimer thinly written also. While the sex scenes add a layer of intimacy to a historical epic of this scale, they aren't enough to help understand this strange relationship.
Ultimately, the film tackles some of the most complex and significant moral questions in human history without giving you an easy answer, because there isn't one, making it a thought-provoking and immersive cinematic experience.
In contrast to Christopher Nolan's usual action-packed films, Oppenheimer is primarily a drama. Yet, it retains Nolan's distinct filmmaking style by utilising IMAX cameras to create an immense and immersive experience. The IMAX technology is applied uniquely here, capturing breathtaking closeups of the actors' performances rather than solely focusing on action and establishing shots. Notably, the film utilises black and white IMAX for the first time, to beautiful effect.
And just like the cinematography, Nolan's approach to music doesn't change with the more intimate story either. The music is just as loud, bombastic, and rousing as his previous films. Ludwig Göransson returns having previously composed the music for Tenet. With this score, he completely reinvents himself. The score is more classical compared to his previous work. Yet it is no less exciting here.
In a typical Nolan fashion, Oppenheimer employs an unconventional narrative structure, splitting the biopic into two distinct storylines: Fission and Fusion. Fission provides Oppenheimer's subjective perspective in colour, offering glimpses into his awe-inspiring yet terrifying psyche. Fusion, shot in black and white, is centred around a 1959 Senate confirmation hearing for Lewis Strauss, portrayed remarkably by Robert Downey Jr.
Cillian Murphy delivers a standout performance as Oppenheimer, with an understated yet Oscar-worthy portrayal. He embodies Oppenheimer flawlessly, capturing his accent, physical presence, and emotional depth. The haunting look in his eyes after the atomic bomb's detonation over Hiroshima is particularly astonishing.
The film also has one of the most incredible ensemble casts I've ever seen. Nolan has spoken about how he wanted to avoid having composite characters in this film, meaning the cast is enormous. Matt Damon, Emily Blunt, Florence Pugh and Robert Downey Jr get the most to do from the supporting cast, yet the film is rounded out by big-name actors in roles both big and small. Gary Oldman, Benny Safdie, Dane Dehaan, Alden Ehrenreich, Mathew Modine, Josh Hartnett, Tom Conti and Jason Clarke all bring weight to roles that could have been forgettable.
While the film is short on action, it has one of the most nerve-wracking, suspenseful and incredible set pieces I have seen in the form of the Trinity Test. In true Nolan fashion, he somehow manages to recreate the first atomic bomb test without the use of CGI. The explosion itself is both beautiful and frightening. There are shots where it feels like this colossal explosion is so large that even the IMAX cameras cannot fully capture it. The setup is equally, if not more impressive, to this sequence. It is incredibly orchestrated, with Göransson's score reaching unimaginable heights in tension. The build-up was one of the most heart-pounding cinematic moments I've ever experienced.
For all its brilliance, the film is not perfect. The last act is not quite as compelling as the first two hours leading to the Trinity Test. While still very engaging, the post-war hearings don't have the same stakes as the race to create the atomic bomb. And while the scene in which Oppenheimer gives a speech following the dropping of the bomb on Hiroshima is phenomenal, I wish we got more scenes like this, which brilliantly show us how conflicted and horrified Oppenheimer was about his creation post-war. Nonetheless, the film's final scene is both powerful and haunting in this regard.
Oppenheimer's relationships with the two most influential women in his life, played by Emily Blunt and Florence Pugh, also felt a little underdeveloped. While the film is huge, dense and fast-paced, a greater emphasis on these pivotal relationships would have been beneficial. While Blunt has a fantastic scene towards the film's end, I wish we got a deeper look at her relationship with Oppenheimer. As for Pugh, I found her relationship with Oppenheimer thinly written also. While the sex scenes add a layer of intimacy to a historical epic of this scale, they aren't enough to help understand this strange relationship.
Ultimately, the film tackles some of the most complex and significant moral questions in human history without giving you an easy answer, because there isn't one, making it a thought-provoking and immersive cinematic experience.