Oppenheimer

UK Release Date: 21 July 2023

Certification: 15
Director: Christopher Nolan
Cast: Casey Affleck, Michael Angarano, Dylan Arnold, Emily Blunt, Kenneth Branagh, Jason Clarke, Tom Conti, Matt Damon, David Dastmalchian, Dane DeHaan, Robert Downey Jr., Alden Ehrenreich, Josh Hartnett, David Krumholtz, Rami Malek, Matthew Modine, Cillian Murphy, Gary Oldman, Florence Pugh, Jack Quaid, Benny Safdie, Alex Wolff

Rating: 97%

Review:

With the buzz of 'Barbenheimer' in full effect, Oppenheimer released to a worldwide wave of praise, Oppenheimer was easily my most anticipated release of 2023. 

Christopher Nolan is my favourite director and the film is the crowning achievement of Nolan's career to date - combining the meticulous script of Memento, the performances of The Prestige and the stunning visuals of Interstellar. It is his tightest screenplay and has a plethora of personal performances yet he maintains the spectacular style that brought him initial success. Sharing a fascination with the constraints of time, it is a recurring theme throughout the entirety of his filmography. The non-linear storytelling format has been a staple of Nolan's career - as it allows him to constantly subvert expectations and craft complex narratives - yet, he has never utilised the technique as well as in Oppenheimer. He continuously shifts focus to give a striking look into the history of the events surrounding the progression of the Manhattan Project. 

The film is a masterclass in acting. Each member of the monumental cast - no matter how significant their role - gives either a career best or close to it. Beyond the TV series, Peaky Blinders, Cillian Murphy has rarely been given the opportunity to be a leading man even within Nolan's body of work - his sixth appearance. Oppenheimer changes everything. He is nothing short of astonishing as J. Robert Oppenheimer. The guilt of Hiroshima and Nagasaki, the brilliance of his mind and the complication of his romantic interests. It's fairly apparent early on that his left wing political views will come back to trouble him. What Cillian Murphy is able to achieve with his piercing blue eyes alone is phenomenal. It's a haunting performance that cannot be complemented enough.  

Robert Downey Jr. completely embodies the antagonist role of Lewis Strauss. He showcases to the world that he still knows how to act. He makes your blood boil with every single moment of his vicious screen time. It's a revival of his career from a critical standpoint. RDJ will thoroughly deserve a supporting actor win if he receives one come next year. Nonetheless, Emily Blunt is the driving force of the film as Kitty Oppenheimer. She is incredible - owning the screen with each little character interaction. There's a scene within the runtime that should cement her Academy Award there and then. It is an impeccable triumph in the talent and versatility on display from Blunt.

Furthermore, both Matt Damon and Florence Pugh add in supporting roles. Jason Clarke was a huge surprise as prosecutor, Roger Robb. He matches his more prestigious cast members with ease, even surpassing them at points. Clarke is the definition of a threat that the audience can't help but hate him. Minor players - Casey Affleck, Tom Conti, Dane DeHaan, Alden Ehrenreich and Rami Malek - all impose themselves with limited screen time. 

The eccentric eye for visual flair on display is sensational. Hoyte van Hoytema is one of the best cinematographers currently working. The trinity test, alongside Oppenheimer's speech, is a phenomenal demonstration of the miraculous filmmaking scattered within the film. Besides the fact that there are numerous scenes that can only be described as breathtaking, the craft goes further than that. A 115kg IMAX camera on his back Hoyte van Hoytema goes above and beyond to create a spectacle. 

Ludwig Göransson delivered an exceptional score. He put absolutely everything into the production of each piece of music. Chilling, boisterous and shattering at times - he adds to the noise of the atomic bomb alongside the immense sound editing. 'Can You Hear The Music' is one of the best pieces of music ever featured in a cinematic creation. Its an orchestral marvel that took three days to record with a total of twenty-one jaw dropping tempo changes. As it grows in confidence, it also grows in quality. And as much as I worship Hans Zimmer, this score feels like the passing of the guard between two legendary composers. 

Never has a historical biopic been as exciting as Oppenheimer, excluding David Fincher's The Social Network. The editing is slick in nature. The film consistently changes the focal point to keep the audience engaged. The objective black and white scenes compliment the subjective scenes shot in colour. With a script written almost entirely in the first person the intelligence exhibited is terrific. 

Up keeping with the skilful technicality of the film, Oppenheimer ends with a feeling of existential dread. Clever wordplay leads to fabulously riveting conversation. Moments of awe-inspiring built up, gratifying applause ring out throughout Oppenheimer. The metaphorical call backs to previous frames cause inventive discussion following the film's conclusion. 

As the dust settles on Oppenheimer, it is the best film of the year so far. I've seen it twice now. To be able to view the film on a massive IMAX screen (80 feet wide and 60 feet tall) was an otherworldly experience. Shaken to my core by the deafening sounds, enthralled by the special dialogue and in admiration of Nolan's vision.