Review: If “Oppenheimer” is a supersize movie, that’s because anything else would do a disservice to J. Robert Oppenheimer, the tragic figure at its core brought to fascinatingly paradoxical life by Cillian Murphy.
“Oppenheimer,” Christopher Nolan’s masterful portrait of the man known as the father of the atomic bomb, has been anticipated with some skepticism among filmgoers who wonder how Nolan’s penchant for Imax cameras and thundering sound designs would serve a story that, at its core, amounts to scenes of different groups of men arguing in different kinds of rooms .
There’s a lot of information to keep track of in “Oppenheimer.” Spanning four decades, during which the title character goes from protégé to prophet to pariah, the movie is a jumble of time frames, narrative arcs, and characters who move in and out of the subject’s life in sometimes shocking but always intriguing ways. Luckily, Nolan — who wrote the script, adapted from Kai Bird and Martin Sherwin’s book “” — knows his way around a scrambled chronology.
Of course, it helps if that enterprise is undertaken during a moment of supreme moral clarity, like beating Hitler to the punch. When Manhattan Project overseer Gen. Leslie Groves approaches Oppenheimer to assemble a scientific team to build a bomb that will end the war, “Oppenheimer” enters the let’s-put-on-a-show phase. At Los Alamos, N.M.
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