![]() It’s a bit of a mess, frankly, on this first viewing, and Nolan’s exposition-heavy dialog doesn’t help. Subtlety isn’t Nolan’s strong point, and so he reminds you - over and over - that Oppenheimer was complicated he inspired scientists around the world and oversaw one of humanity’s most ambitious projects even as he failed his wife and children. Nolan’s film walks a fine line between lionizing Oppenheimer’s brilliance and ambition and excoriating his pride and moral failings, and I’m not sure it does so successfully. Which might explain why the actual Trinity test, which the first two-thirds of the film inexorably builds up to, feels surprisingly anticlimactic, especially when compared to the surreal visions that often plague Oppenheimer. Robert Oppenheimer’s public fall and political disgrace as it is about the atomic bomb, if not more so. It’s technically impressive, but what else would you expect from Christopher Nolan? It’s helpful, though, to realize that Oppenheimer is as much about J. As I left the theater, I wasn’t sure I liked Oppenheimer at all.
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