Oppenheimer

     

    It has taken me some time to fully digest the film “Oppenheimer” (Universal, 2023). This is due to its impact on the art of filmmaking as well as its inarguable significance in the discussion about where we are as a society. Adapted from the book “American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer” by the film’s director, Christopher Nolan, “Oppenheimer” is less an exploration of its titular character and more of a gut punch of observational cinematic symmetry. From start to finish the viewer cannot (should not) ignore the obvious implications of hubris over humanity, and the readily conceivable end to come by way of nuclear annihilation.

    J. Robert Oppenheimer is played by the terribly underrated Cillian Murphy, whose stellar (for lack of a better word--maybe interstellar) performance lends a brand of authenticity not often seen. Mind you, there is a deep bench of acting talent to support, so strap in. Emily Blunt, Robert Downey Jr., Florence Pugh, and Matt Damon are just a few of the unbelievably exceptional actors in the film. Truly, you’ll wish you had seen more of them because their performances elevate the film’s unmistakable importance that much more, blending and balancing amazingly with Cillian Murphy’s flawless portrayal of the tormented scientist. 

    For the best viewing experience, moviegoers should choose the IMAX format. Apparently, Christopher Nolan went the extra mile, inventing black and white IMAX film for his magnum opus. So, besides popcorn (or other snacks of your preference) and some Kleenex tissues (yes, you will cry), the splurge is recommended.

   This is a perfect film, in my opinion. It’s not an homage to a man but a reminder of our history. It’s not just movie magic at its finest but a story to rouse in us the questioning spirit and reevaluate all our ideas of hope and the future. 

Go see it.