Christopher Nolan’s Oppenheimer is here. Our review:
Oppenheimer
’s larger themes about how carefully considered actions often spark unforeseen and uncontrollable consequences — like the ripples in a puddle of water that Oppenheimer observes in the film’s very first scene. The tricky structure also helps Nolan keep from becoming a more traditional biopic. By laying this man’s triumphs and tragedies side by side, he also shows they were inextricably linked — again, underscoring the movie’s ideas about chain reactions.
Murphy’s Oppenheimer occasionally discusses the theoretical possibility of what we now know as black holes. Before his time at Los Alamos, he wrote a paper on the existence of “dark stars” that contain so much gravity that not even light can escape it — and thus we cannot see them with the naked eye. But the stars in are plainly visible, and right up until the very end of the movie, they keep popping up in scene after scene. Some, like Dane DeHaan, play small but important supporting roles .
These familiar faces — Alex Wolff! Tony Goldwyn! Benny Safdie! David Dastmalchian! Matthew Modine! David Krumholtz! Alden Ehrenreich! Jason Clarke! Josh Hartnett! Kenneth Branagh! Jack Quaid! James Urbaniak! — make the single most impressive assemblage of “that guy” screen acting talent of the 21st century. But they also serve a practical purpose.
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