Connect with us

Movie Reviews

Movie review: Christopher Nolan ventures out of his element in ‘Oppenheimer’

Published

on

Movie review: Christopher Nolan ventures out of his element in ‘Oppenheimer’

Florence Pugh, left, as Jean Tatlock and Cillian Murphy as J. Robert Oppenheimer in “Oppenheimer.” (Universal Pictures/TNS)

Christopher Nolan is a legendary director, with his filmography — including renowned movies such as “Inception,” “The Dark Knight” and “Interstellar” — having gained distinction because of his passion for developing visually and auditorily stunning films. The consequence of his painstaking commitment to his style is a lack of substance at times — a heavy criticism of “Tenet,” Nolan’s most recently released film prior to “Oppenheimer.”

While “Oppenheimer” fits right in with his best work at times, it occasionally falls into the exact same pitfalls that hold his other movies back from being full-on masterpieces.

“Oppenheimer,” starring Cillian Murphy as J. Robert Oppenheimer, details the life of the “father of the atomic bomb” as he races to assemble a team of scientists and develop the infamous weapon before rival scientists in enemy countries. Amid this already monumental challenge, he struggles with accusations of being a communist ally and an increasingly complicated personal life.

The story can’t reasonably be criticized, as it is a cinematic retelling of Oppenheimer’s real life, but the way Nolan chooses to tell the story is somewhat questionable.

Advertisement

Nolan is known for directing blockbusters like superhero movies, and “Oppenheimer” can sometimes feel like a superhero origin story rather than a true biopic. Cameos and name drops of famous scientists are shot like easter eggs viewers might expect to see in a Marvel film; moreover, the dialogue features quips and one-liners that seem thoroughly out of place.

“Oppenheimer” is at its best when it focuses on Murphy’s brilliant performance and the deep dive into Oppenheimer’s psychology, more akin to the individualistic character study expected of a biopic.

An issue Nolan runs into even in his most successful movies is the repeated use of female characters’ suffering to bring emotional depth to his main characters — a martyrized manic pixie dream girl of sorts.

“Oppenheimer” is based on a true story, so Nolan didn’t write these characters from scratch, but he did purposefully select what parts of their real-life story to show. While Oppenheimer’s wife Kitty (Emily Blunt) is developed well, the treatment of Jean Tatlock (Florence Pugh), his first love and on-and-off-again relationship, is shockingly disappointing for someone so important to Oppenheimer’s story.

She has very limited scenes — a shame in and of itself because of Pugh’s stage presence — and when she does appear, she acts more as a hardship for Oppenheimer to overcome rather than her own distinct person. Nolan neglects not only to pay much attention to Tatlock’s own accomplishments as a brilliant scientist but also her struggles with her sexuality, a defining characteristic of her own life as well as of her relationship with Oppenheimer.

Advertisement

In doing so, he takes a complex real-world person and makes her one-dimensional. In fact, it’s almost implied Tatlock’s struggles with mental health weren’t due to the pressure of being a non-heteronormative person in the 1940s, but rather because of her failing relationship with Oppenheimer.

While the movie is ultimately an Oppenheimer biopic and not a Jean Tatlock biopic, you’d think that a person arguably more consequential to Oppenheimer’s life than his own wife would be treated with the care she deserves, especially when failing to do so sacrifices historical accuracy.

Another common struggle of Nolan’s that is seen again in “Oppenheimer” is his approach to pacing. The movie actually moves through Oppenheimer’s life fairly quickly; however, Nolan chooses to show so much of the story that the plot still seems slow at times, especially due to the immense number of time jumps back and forth through Oppenheimer’s career.

For instance, if the ignition of the Trinity test — the first atomic bomb ever dropped and the culmination of Oppenheimer’s life’s work — was the peak of action and build-up in the movie, “Oppenheimer” might have one of the longest third acts in all of cinema.

The second half of the movie deals with a series of trials faced by Oppenheimer and adjacent scientists, soldiers and politicians. While it is extremely tense and enjoyable in a manner reminiscent of political dramas, what audiences came to see had already exploded by then, and the film’s remainder may drag for those less interested in the politics of it all.

Advertisement

Nolan urged the film community to see “Oppenheimer” in specific formats leading up to its release, saying that IMAX 70mm is the way he intended it to be seen. However, only 19 theaters with the capacity to show IMAX 70mm exist in the entire United States, so the option to see it as Nolan intended isn’t viable for most people.

While Nolan and other experts said audiences would still enjoy it in other theaters, a question must be asked when the needle is pushed from a movie being an engaging narrative to a sensory spectacle. The best movies should be able to be enjoyed anywhere, simply accentuated by the magic of a theater.

While “Oppenheimer” is without a doubt entertaining, it does feel as though the correlation between the size of the screen it is viewed on and the overall audience experience is far too intertwined.

“Oppenheimer” is simultaneously emblematic of Nolan’s greatest strengths and weaknesses, but it can never be faulted for a lack of spectacle. It should be criticized out of respect for its ambition; great works of art intrinsically invite criticism due to the boundaries they have to push. “Oppenheimer” grips the audience with its unique blend of psychological despair and American patriotism, and despite its faults, is still a spectacle worth seeing on the big screen.

Rating: 3.5/5

Advertisement
Continue Reading
Advertisement
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

This site uses Akismet to reduce spam. Learn how your comment data is processed.

Movie Reviews

Movie review: “The Watchers”

Published

on

Movie review: “The Watchers”
“The Watchers” is a horror/thriller movie that is Isha Night Shyamalan’s directorial debut, released in 2024. It is based on the book The Watchers by A.M. Shine. There is a hint of fantastical elements throughout the movie and lore that would have made for a great overall story, but unfortunately,…
Continue Reading

Movie Reviews

Movie Review: ‘Summer Camp’ is an entertaining disappointment

Published

on

Movie Review: ‘Summer Camp’ is an entertaining disappointment

Nothing forges a friendship like treating an arrow wound. For Ginny, Mary and Nora, an ill-fated archery lesson and an injured classmate are just the beginning of the lifetime of trouble they’re about to start.

Ginny is a year above the other two, more experienced in both summer camp and girlhood, and takes it upon herself to somewhat forcefully guide her younger friends. Mary cowers in the bathroom away from her bunkmates, spouting medical facts, while Nora hangs back, out of place. When their camp counselor plucks them out of their cabin groups to place them in the new “Sassafras” cabin, they feel like they fit in somewhere for the first time.

50 years later, “Summer Camp” sees the three girls, now women, reunite for the anniversary reunion of the very same camp at which they met. Although they’ve been in touch on-and-off in the preceding decades, this will be the first time the women have seen each other in 15 years.

Between old camp crushes, childhood nemeses and the newer trials of adulthood, the three learn to understand each other, and themselves, in a way that has eluded them the entirety of their friendship.

I really wanted to like “Summer Camp.”

Advertisement

The opening scene, a glimpse at the girls’ first year together at Camp Pinnacle, does a good job at establishing Ginny, Mary and Nora’s dynamic. It’s sweet, funny and feels true to the experience of many adolescent girls’ friendships.

On top of that, this movie’s star-studded cast and heartwarming concept endeared me to it the moment I saw the trailer. Unfortunately, an enticing trailer is about the most “Summer Camp” has to offer.

As soon as we meet our trio as adults, things start to fall apart. It really feels like the whole movie was made to be cut into a trailer — the music is generic, shots cut abruptly between poses, places and scenes, and at one point two of the three separate shots of each woman exiting Ginny’s tour bus are repeated.

The main character and sometimes narrator, Ginny Moon, is a self-help writer who uses “therapy speak” liberally and preaches a tough-love approach to self improvement. This sometimes works perfectly for the movie’s themes but is often used to thwop the viewer over the head with a mallet labeled “WHAT THE CHARACTERS ARE THINKING” rather than letting us figure it out for ourselves.

There are glimpses of a better script — like when Mary’s husband asks her whether she was actually having fun or just being bullied, presumably by Ginny. This added some depth to her relationship with him, implying he actually does listen to her sometimes, and acknowledged the nagging feeling I’d been getting in the back of my head: “Hey, isn’t Ginny kind of mean?”

Advertisement

Despite all my annoyance with “Summer Camp,” there were a few things I really liked about it. I’m a lot younger than the main characters of this movie, but there were multiple points where I found myself thinking, “Hey, my aunt talks like that!” or, “Wow, he sounds just like my dad.”

The dynamic of the three main characters felt very true to life, I’ve known and been each of them at one point or another. It felt especially accurate to the relationships of girls and women, and seeing our protagonists reconcile at the end was, for me, genuinely heartwarming.

“Summer Camp” is not a movie I can recommend for quality, but if you’re looking for a lighthearted, somewhat silly romp to help you get into the summer spirit, this one will do just fine.

Other stories by Caroline

Advertisement

Caroline Julstrom, intern, may be reached at 218-855-5851 or cjulstrom@brainerddispatch.com.

Caroline Julstrom finished her second year at the University of Minnesota in May 2024, and started working as a summer intern for the Brainerd Dispatch in June.

Advertisement

Continue Reading

Movie Reviews

The Garfield Movie

Published

on

The Garfield Movie

⭐️ ⭐️ ⭐️ ( out of 5)

He looks pretty good for being 45 years old and having a solid diet of the four basic food groups: lasagna, lasagna, lasagna, and lasagna. Garfield (Chris Pratt) has graced newspapers, cinemas, toy stores and has been a window ornament in cars worldwide. As one of the world’s most recognised cats, it is no wonder that he would get a new animated franchise to honour his four decades of lounging around in our lives.

This unlikely adventure takes audiences back to the origins of his life with Odie the beagle and their owner, Jon Arbuckle (Nicholas Hoult). As he does all he can to avoid Mondays and any form of exercise and finds new levels of leisure, the orange cat is suddenly confronted by his past as he is reintroduced to his long-lost father, Vic (Samuel L. Jackson). Their sudden family reunion is tainted by the unexpected need for his father to rectify a wrong with one of his former feline friends, the Persian cat – Vinx (Hannah Waddingham). The two cats and a friendly beagle must reacquaint themselves with one another as they work with Odie to fulfil the order from the criminal kitty who needs them to deliver a milk order that would rub any cat the wrong way. Along the way, they must befriend a wise bull named Otto (Ving Rhames) to stay ahead of dairy security officer Marge (Cecily Strong) as they hope to achieve their mission and get home to their life of lasagna and leisure.

When reviewing a film about a lazy, pasta-eating cat, one must manage expectations. To expect this to be groundbreaking cinema might be a bit of a stretch. Also, considering that there is little for families to enjoy in cinemas, The Garfield Movie might be the best snack food option for parents for the season. The tone goes from ridiculous to sentimental and back to farcical as if the source material is based on a classic cartoon, which, of course, it is. A consideration as you continue with this review and realise that the film will do exactly what it is meant to do, entertain families with the fun, ridiculous actions of the cat with little motivation to do much with his life except eat his favourite Italian food and spend time with his owner. Chris Pratt and the rest of the cast come along for the ride to complement this tale of friendship, family and food.

What should parents know about The Garfield Movie? Suppose your children loved the antics of the Super Mario Brothers or liked the humour delivered by the Minions. In that case, this film will provide laughs and a hankering for Italian food afterwards. Most of the laughs for parents will fly over the heads of the little ones and will provide something for the adults in the audience. There is little to object to outside the gluttonous tendencies of this legendary cat. The discussion opportunities after the film include the three Fs of family, friendship and forgiveness.

Advertisement

Continue Reading

Trending