Telling the story of a larger-than-life individual truly calls for a larger-than-life film, and that’s precisely what writer-director Christopher Nolan has come up with in his latest feature outing, handily the best work of his career. Nolan’s three-hour opus about the life of Dr. J. Robert Oppenheimer (Cillian Murphy), director of the Manhattan Project (and more commonly known as the Father of the Atomic Bomb), provides viewers with a comprehensive biography of this brilliant and thoughtful yet often-inscrutable and naïve physicist who took on a patently dangerous venture that left him morally conflicted about the nature of his creation. The story, which spans several decades of the scientist’s life, chronicles his development of “the gadget” and the fallout he suffered as a consequence of his left-wing political leanings and his efforts to keep the released nuclear genie from getting out of control. The film is admittedly a little overlong and probably could have used some editing in the opening and final hour, but, in the interest of telling the whole story of Oppenheimer’s odyssey, its length is understandable (and, consequently, justifiable). The picture’s production values are all top shelf, especially its brilliant cinematography, stirring original score and superb sound quality, an element that truly leaves audiences with a bona fide visceral experience. Moreover, the narrative is skillfully and eloquently brought to life by this offering’s outstanding ensemble cast, including Murphy, Matt Damon, Tom Conti, Benny Safdie, Emily Blunt, Florence Pugh, Gary Oldman, Rami Malek, and, especially, Robert Downey Jr., who delivers a stellar, award-worthy supporting performance showing acting chops that I never knew he possessed. “Oppenheimer” is easily the best film of the summer movie season, if not all of 2023 thus far. It packs a potent punch and delivers a message that we can all never hear too often, poignantly reminding us all of the importance of not falling prey to the same Promethean burden that Oppenheimer was forced to shoulder.

Cillian Murphy offers an assured and considered performance here as the man who is credited with developing the bomb that hastened the end of WWII in the far east. He is the increasingly acclaimed, eponymous, physicist who is made aware by Admiral Lewis Strauss (another strong performance from Robert Downey Jr.) that it just possible that the Russians have the A-bomb. Now Oppenheimer already suspects that the Nazis are also well on their way to weaponising the atom - his earlier education and career had introduced him to some of the prominent minds in the UK and in Germany who were quite capable of taking the theory forward; so he begins to pressurise the American government to begin it's own programme - and the "Manhattan Project" is born. Motivated/goaded/galvanised by the ambitious "Col. Groves" (Matt Damon) he assembles a formidable collection of scientific minds at a purpose built, desert, location which he christens Los Alamos, and over the next three years - and with $2bn to spend - they work on the science whilst plutonium and uranium are being simultaneously processed at an irkingly glacial pace! Given that much of this is reasonably well documented history, the actual plot here has little by way of jeopardy. Instead, Christopher Nolan attempts via his writing and direction to put some meat on the bones of the characters here. It's clear that Oppenheimer is a bit of a Lothario, but it's also clear that he can engender the loyalty of a variety of people with diverging views - not just surrounding the science of their project, but around the morals and ethics of creating something that - well, you can't get the toothpaste back into the tube. The latter portion of this drama focusses on the subsequent, communist-obsessed, witch-hunting that went on attempting to persecute and smear this remarkable and flawed individual, and it makes some interesting postulations about just who was pulling whose strings. It also has quite a penetrating resonation about it - not just, specifically, about Oppeneheimer - but about all of those post-event "enquiries" that rarely deliver an honest appraisal of what was done in the name of expediency at the time, but ends up more of a character assassination exercise by those who didn't do anything against those who did and had to. Though at times the pace of this thing helps to keep it enthralling, it is too long - at times it really does plod along. Perhaps an other, objective, eye on the writing/direction may have tightened it up without having to sacrifice any of the potency of the story. Maybe someone needs to tell Mr. Nolan that a three hour film isn't always required! That said, it's a gorgeous film to look at. The aesthetics are first rate and the entire sentiment of the film reeks of authenticity. I do think this thrives better on a big screen so try to see it as it was intended. It's though provoking, complex, characterful - and well worth a watch.