Review: Nolan's 'Oppenheimer' is a harrowing story of one man's life

Christopher Nolan is undoubtedly one of the most influential filmmakers of this century. His films are regularly featured in articles on the best movies of every year, every decade, and even some of the best in movie history. For me personally, he is a director whose name alone brings me to the theater every time. Nolan brought narrative complexity to blockbusters, turning them into impactful stories that left viewers thinking deeply about what they saw and what happened. The writer/director has made audiences around the world see the theatrical experience as something more than an excuse to binge on popcorn. And he does it again with Oppenheimer, his 12th feature film since Following in 1998.

Nolan's last two films, Dunkirk (2017) and Tenet (2020), have been criticized - by a minority, admittedly - for being too confusing and difficult to follow. The first for its three distinct storylines taking place in the sky, sea, and land. The second for the visuals induced by the sci-fi premise of time going back. For those viewers, I don't think Oppenheimer will be any simpler or easier to follow. It's a story totally driven by extremely fast-paced and intricate scientific dialogue (tons of exhibits on quantum physics and mechanics) and with rare moments of explanation by analogy to help viewers grasp the most basic ideas.

Three heavy hours spent with dozens of characters each having a significant impact on the main plot or in the protagonist's arc, as well as different timelines, multiple encounters and interrogations, color and black and white sections... all at a pace, sometimes, so fast that the slightest outside distraction can suddenly cost you understanding of motivations, ambitions, location changes, character names, and most importantly, awareness of time and space. Oppenheimer truly justifies the use of the phrase "it's not for everyone". That said…

Oppenheimer is, technically, another masterpiece that every movie buff should see on the biggest IMAX screen possible. A phenomenal lesson in how to put together an incredibly immersive blockbuster on less than half the budget of all the others. Nolan has always been known for his insistence on practical effects and shooting on film, which is evident in DP Hoyte van Hoytema's crystal clear visuals and stunning cinematography. From mesmerizing close-ups to shifts between color and black and white, this is one of the most visually compelling biopics I've ever had the pleasure of watching.

Nevertheless, the technical particularity must go to the sound production. The overall sound design and score by composer Ludwig Göransson make Oppenheimer much more than just a movie. In the first few seconds, I felt the ground shake, my body vibrate and my heart race. It's an experience so powerful and so rarely felt in a theater that I'm afraid sensitive viewers will feel uneasy during some of the most… explosive moments. This was one of the aspects that helped me stay focused on the ongoing story and the respective character interactions. It's an extra layer that contributes exceptionally to the tension and suspense of every scene in an already remarkably atmospheric film.

Nolan's Oppenheimer film is clearly divided into three acts. The first follows the early career of scientist J. Robert Oppenheimer (Cillian Murphy) until he becomes director of the Los Alamos laboratory in New Mexico, where the Manhattan Project was orchestrated. During this period, the public meets many scientists, colleagues and professors, who accompanied Oppenheimer's growth as a theoretical physicist, as well as the women who were part of his life. Everyone - I repeat, everyone - has a vital impact on their life, whether it's helping to chart the path that led Oppenheimer to Los Alamos, building the first atomic bomb, or coping with the traumatic aftermath.

It's in that first hour, more or less, that Oppenheimer presents exactly the type of film it will be. A quasi-documentary that wastes no time with irrelevant information or random conversations. Viewers may complain about the lack of interest or entertainment, but all the scenes have a purpose, so the 180 minute runtime is earned even if its weight is felt. The speed with which the characters are introduced and with which, almost immediately, Oppenheimer advances in his career through new studies in diff...