Originally published to 8newsnow.com on July 19, 2023.

Oppenheimer is the newest movie from writer and director Christopher Nolan, one of the most well-regarded filmmakers in modern cinema, and tracks — as the title may imply — the life of J. Robert Oppenheimer, the physicist widely acknowledged as the father of the atomic bomb.

Writing about Oppenheimer as a film is nearly as complicated as the piece’s plot itself. The biopic is essentially a three-hour conversation between Oppenheimer himself and a cavalcade of actors, all sliding in and out of the story as needed. If that sounds exhausting, you may be getting the idea.

Great characterizations, a naturally compelling plot, and fantastic performances propel Oppenheimer through its runtime. Cillian Murphy, present in nearly every scene, provides a well-performed, if not inviting, protagonist. Robert Downey Jr. sheds Tony Stark in a role that will undoubtedly be in Oscar contention. Matt Damon, bringing the “explain it to me like I’m five” energy, is the most accessible character in the film, channeling the everyman and helping the audience through the ins and outs of governmental secrecy and theoretical physics. Emily Blunt, Florence Pugh, and Alden Ehrenreich deserve full paragraphs written about what they bring to the film, but Oppenheimer is a who’s who of “that guy.” Recognizable faces litter the screen, and this writing would quickly become a novel crediting all of them for their efforts.

The film is, quite literally, a ticking time bomb. This is illustrated through Ludwig Göransson’s fantastic orchestration, using sound to call to attention the relentless drive to create the world’s most dangerous weapon. Like an out-of-control train hurtling forward, a metaphor used by both Göransson and Nolan in the film, the plot drives forward towards one all-consuming goal for the film’s first two acts. It’s in the quiet of the third act that Oppenheimer finds its true horror, as the film becomes a political thriller. There, Oppenheimer must come to terms with his own decisions, all while being attacked by the governmental hierarchy that propelled him in the first place.

Oppenheimer is an important movie. It’s vital viewing for both history buffs and film nerds. The artistic merit of the piece is undeniable. The craftsmanship is evident in the final product, as the audience has come to expect from Nolan. However, there is little fun to be had here. Nolan’s previous works had a sense of adventure, perhaps a little whimsy to taste. His oeuvre is dry but with just enough charm to compel audiences to take the ride. While Oppenheimer has little charm or sense of fun, it would be a mistake to say the film isn’t good. The movie represents some of the finest filmmaking of the modern era. However, it’s hard to imagine an audience revisiting Oppenheimer for future viewings. Nolan seems to have forsaken audiences looking for a good time to tell a serious and stark story.

Oppenheimer conjures up the greatest dread of anyone who came into adolescence with a fear of nuclear holocaust (thanks Terminator 2: Judgment Day.) In some ways, the film is the origin story of the greatest villain the world has ever seen. The nuclear bomb is no doubt the Freddy Kreuger of this film. The difference between Nightmare on Elm Street and Oppenheimer is that when Nolan’s biopic is over, and the audience leaves the theater, Freddy is real, is still chasing, and always will be.