Christopher Nolan's Great Man (But Maybe Not) biopic Oppenheimer is paradoxical poetry. rockmarooned's review:
. That last movie’s exacting, heist-picture portrait of dream-surfing caused some to wonder if Nolan was too literal-minded for the neo-Spielbergian job, but that was exactly the tension that wound the film so tight. The real test of Nolan’s mettle is something like the great-man biopic – not because he’s insufficiently reverent , but because of the temptation to give himself fully to that innate squareness.
In the early going, this version of Oppenheimer would likely have answered the question with a bit of reasoned pontificating, self-attributed to his intellectual curiosity.
All of this proceeds with Nolan’s usual score-heavy propulsion that makes half the movie feel like a montage and three-quarters of it feel like a thriller; the clandestine elements of the Manhattan Project and the talk of Soviet spies give the movie a feeling of buttoned-up espionage.
Pugh is playing Oppenheimer’s on-and-off paramour Jean Tatlock, the most interesting of maybe two-dozen intriguing characters played by familiar actors – the film has enough names for three or four well-stocked indie movies – who nonetheless can only appear briefly in this intimate-yet-epic, IMAX-with-close-ups undertaking.
As much peripheral stargazing as the movie offers, it’s more interested in wrapping its mind around a 20th century horror that is, for many Americans, both abstract and intensely nightmarish. This Oppenheimer seems to quietly pride himself, to some degree, on his ability to build his blackboard discussions of physics into something more practical and tactile, without fully realizing how little control he will have once it is accomplished.
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