Hollywood Movies » Latest Sports News

Anatomy of a Fall Movie review 2023

30 October 2023 by smgbnation.com

“Anatomy of a Fall” is a refreshing take on the courtroom drama genre, as it delves into the intricacies of a marital relationship. Justine Triet’s film starts with a conventional mystery but gradually transforms into an exploration of a different kind of fall – not just a physical one, but the decline of a partnership over years marked by resentment and betrayal. At its core, the movie features a remarkable performance by Sandra Holler, possibly one of the best of the year. She plays a woman thrust into a nightmare when a French court indicts her for the murder of her husband. The film was awarded the Palme d’Or at the Cannes Film Festival, and rightfully so, as it transcends the boundaries of a mere mystery, becoming a profound examination of a marriage from various angles while emphasizing the idea that understanding others completely is a near-impossible feat. It’s a bold, lengthy film that may occasionally feel aloof and self-indulgent, but it builds up to a series of scenes that pack a powerful emotional punch, much like when a disagreement with a partner escalates beyond control.

Huller portrays Sandra, who is introduced through an interview about her life as a famous author. Triet’s film cleverly plays with the notion that writers inherently draw from the people around them to create unique characters, thereby making the protagonist’s profession integral to the narrative. It’s noteworthy that the lead couple shares the names of their real-life performers. As the interview progresses and takes on a slightly flirtatious tone, loud music abruptly disrupts the scene. This interview takes place in a remote cabin in the French Alps, surrounded by snow, where Sandra and her husband Samuel reside. The interruption comes from Samuel, who is playing an instrumental version of 50 Cent’s “P.I.M.P.” on repeat, at an increasingly higher volume. He appears to be deliberately sabotaging the interview, and he succeeds in driving the interviewer away. Their son, Daniel, takes their dog Snoop for a long walk during this chaos. When Daniel returns, he discovers Samuel lying in the snow with a bloody head wound. The central question emerges: Did he fall from the attic where he was working? Did he jump? Or was he pushed?

For the next two-and-a-half hours, “Anatomy of a Fall” meticulously documents the investigation and trial surrounding Samuel’s death. Every decision made not only on that fateful day but throughout much of their marriage is scrutinized by people who have never met Sandra, Samuel, or Daniel. The film vividly illustrates the avalanche of personal baggage that surfaces when a death is ruled inconclusive. Samuel’s therapist testifies that he wasn’t suicidal, but it’s evident that he only showed the therapist what he wanted him to see. The interviewer, who had just met Sandra, is asked to provide insights into a woman she barely knows. What could she possibly understand about their lives? The movie skillfully emphasizes that we only ever see a fragment of a person’s mental state. At times, it feels like Sandra’s personality is on trial. Nevertheless, some of the evidence suggesting her guilt is rather compelling.

“Anatomy of a Fall” might sound like it’s playing a mysterious game, but it avoids manipulation and suspense tactics. The film actually improves when it abandons some of the gamesmanship that a lesser filmmaker might rely on to tell this story. While there is a puzzle to be solved here, the true focus is on how couples communicate, or fail to do so, and the consequences of this communication breakdown. It’s significant that neither Sandra nor Samuel primarily communicate in their native language; they find common ground in English. Additionally, Daniel suffers from reduced eyesight due to an accident. The film underscores the idea that we don’t fully comprehend each other, and we don’t entirely see each other.

Sandra Huller delivers an astonishing performance, keeping much of Sandra’s motivations and hidden skeletons internalized. It’s evident that she has meticulously considered every aspect of this character, resulting in a nuanced, fully realized portrayal where the character’s backstory feels palpable in almost every scene. The film delves into the questions of how a woman like Sandra arrives at a point where her husband is suddenly dead, and her entire life is on trial. How does this traumatic event affect her? Huller’s performance avoids melodrama, which makes the film’s emotionally charged climax in an intense flashback all the more powerful and emotionally resonant. There’s a less accomplished version of “Anatomy of a Fall” that leans on overwrought melodrama and mystery, but this film prioritizes character development, and it’s the trust between Triet and Huller that anchors every scene and ties the narrative together.

At times, the 151-minute runtime may feel excessive for this story, but it adds to the film’s literary quality, setting it apart from conventional genre storytelling. The extended duration allows the audience to truly feel the coldness in Sandra and Samuel’s home – the chill in the air from both the snow outside and the emotional warmth that has drained from this family. How does one overcome feelings of resentment, infidelity, and a lack of trust in a partner? Or even worse, the sense that a partner doesn’t care? “Anatomy of a Fall” delves deep into these questions, but its most significant strength lies in acknowledging that it doesn’t possess all the answers.

Movie review

The Killer movie review 2023

24 October 2023 by smgbnation.com

review:

In many ways, “The Killer” is exactly what you’d expect from a David Fincher movie centered on a hired assassin: a detail-rich procedural about what a hitman is forced to do as his calculated world implodes. And by telling this story of a deadly perfectionist who repeats phrases like “Forbid Empathy” to keep himself centered, Fincher leans into his reputation as a precise—almost obsessive—filmmaker. “The Killer” may be based on a graphic novel by Alexis “Matz” Nolent, but it feels like Fincher’s most personal film to date.

Of course, it helps to have a leading man who’s proven himself adept at playing soulless monsters before and there are elements of David from “Prometheus” in what Michael Fassbender brings to Fincher’s nameless protagonist. “The Killer” opens with a lengthy voiceover scene as we watch this assassin on a multi-day stakeout in Paris. He keeps an eye on the café below, dips out to McDonald’s for protein, and listens to The Smiths on repeat (about a dozen songs from the landmark band give the film an incredible soundtrack and add to its deadpan humor). But he generally tries to blend in, noting that he picked his disguise as a German tourist because most French people avoid German tourists. In this character-defining prologue, Fincher and writer Andrew Kevin Walker (“Seven”) set the pace that nothing is rushed. It’s a deliberate peek into the mind of a murderer, someone who justifies his actions by noting how many people are born and die each day—anything he does is just a drop in a massive bucket.

After a few days in Paris, The Killer’s target finally appears in the penthouse across the street. And then something happens that never has happened to this film’s “hero”—he misses, hitting an innocent bystander instead of the intended victim. He immediately knows what this means and races home to the Dominican Republic to find his partner clinging to life. The clean-up crew has already come for both of them. It’s here where The Killer essentially breaks his own rules. He has stocked storage units in multiple cities and enough money in foreign accounts to never be seen again. He could run. But the man who has told himself never to improvise and always to keep things from getting personal goes in the other direction, trying to burn those who came into his house and those who hired them. Arliss Howard, Charles Parnell, and Tilda Swinton co-star, but this is basically a one-man show, the tale of an icy assassin forced to get a little hot.

One can sense Fincher’s passion for this project in every frame as he returns to themes that have long interested him: obsession, perfectionism, and power. It helps a great deal that he brings along several of his most accomplished collaborators, including cinematographer Erik Messerschmidt (“Gone Girl”), editor Kirk Baxter (“The Social Network”), and even Trent Reznor & Atticus Ross to handle the score. On a technical level, “The Killer” hums like few films of its type in recent years just because of the pedigree of the team behind it. One senses they all have the same perfectionism as the notoriously detailed filmmaker, and this is the kind of production that rewards that sense of detail. It’s not a film that should be rough around the edges—it succeeds because it’s as finely tuned as one of The Killer’s jobs.

Of course, some will question why we’re watching an amoral monster try to save himself, and it’s worth noting that Fincher and Walker don’t shy away from this. I kept expecting “The Killer” to try and soften its leading man, but there’s no escaping that he is a cold-blooded murderer. When he snapped one victim’s neck, I heard a gasp in my film festival audience, like they expected mercy. That’s not an item in this character’s go-bag, and his completely cynical and procedural approach to murder will turn some people off. This is not a story of redemption but precision; it’s what happens when one of the most precise people in the world makes a mistake. Fincher and Walker rush the final act, especially the shortest epilogue ever, but that complaint may fade on second viewing as I believe it fits the no-nonsense approach of the title character.

All of this might make “The Killer” sound like a drag, but it’s worth noting that it’s actually one of Fincher’s funniest films. There’s a phenomenal running bit about the assassin’s fake names. And there’s a cavalcade of familiar brands like Starbucks, Amazon, WeWork, and even Wordle, a comment on a world that’s commodified and cold enough to allow a killer to slide through it unseen because people are too distracted by something else. He counts on that to do his job.

Finally, there’s the undeniable Fincher-ness of “The Killer.” One could see it as a filmmaker playing his greatest hits with his best bandmates again, but there’s something deeper at play here. This isn’t just the work of an artist repeating himself; it’s the work of one reworking his themes and obsessions into something brave and new. It ultimately asks if people like The Killer can shut the world out to get the job done. And, by extension, if a master like David Fincher can too.

The Killer movie review

The Persian Version” Review: A Deep Dive into Cultural Dichotomies and Mother-Daughter Dynamics

24 October 2023 by smgbnation.com

The Persian Version” Review:

In the opening scene of “The Persian Version,” Leila, played by Layla Mohammadi, dashes down the street in a burqa, cheeky swim bottoms incongruously peeking out. This playful yet thought-provoking introduction, crafted by writer/director Maryam Keshavarz, sets the tone for the entire film. The narrative immediately immerses us in a world of hilarity and reflexive discomfort, expertly portraying the stark contrast between opposing values. This unapologetic comedy skillfully lays the foundation for the story that unfolds.

Leila, the daughter of Iranian-American immigrants, is the sole girl among nine siblings, burdened by the weight of immense familial expectations. She constantly straddles the line between two cultures, each exerting its own unique influence on her. In a series of settings that coerce her to pick a side, she grapples to find her own identity in the midst of this cultural tug-of-war. The family reunites in New York for her father’s heart transplant, and this proximity forces Leila into a complex relationship with her mother, adding another layer of tension to her already fraught existence. As secrets are unearthed, the cracks in their family’s foundation become more pronounced, and the film delves deep into the nuances of cross-cultural upbringing, generational trauma, and the bonds of womanhood.

“The Persian Version” pulsates with personality, striking a harmonious balance between humor and heart. With clever fourth-wall breaks and personality-driven one-liners, the film exudes an intimacy that draws the audience in. The script’s sharp wit and skillful tonal shifts enhance the emotional depth of the narrative, never undermining the story’s weight. Leila, a queer woman navigating the demands of patriarchal, hetero-normative femininity imposed by her mother, remains at the forefront of the film’s events, with every laugh contributing to the rich characterizations that drive the film’s emotional core. Comedy is not merely a tool but an integral part of “The Persian Version’s” overarching theme.

Layla Mohammadi delivers a phenomenal performance as Leila, effortlessly capturing the audience’s hearts and evoking laughter, often within the same scene. Her portrayal exudes a down-to-earth quality that fosters a deep sense of intimacy. Whether she’s engaged in a one-sided battle of wits with a one-night stand or seeking her mother’s acceptance, Mohammadi remains in sync with the quarter-life ennui that defines the character. The filmmaking aligns seamlessly with Mohammadi’s grounded performance, making viewers feel as if they are directly immersed in these scenarios, rather than mere objective observers.

Niousha Noor’s outstanding portrayal of Shireen, Leila’s mother, strikes a poignant chord with painful precision. Shireen is undeniably flawed, but as the film unfolds, we gain insight into the pain that informs her judgments and actions. Noor portrays Shireen with unwavering empathy and care, anchoring the film with an essential emotional core that complements Mohammadi’s performance.

“The Persian Version” scrutinizes this family from every angle, dissecting issues such as flawed communication, the projection of trauma, and the complex interplay of love and snark. It examines both the mother’s weaponized generational and cultural divisions and the daughter’s struggle to see her parents as individuals, imperfect and evolving within a broader context. The film navigates the difficult realization that parents, too, deserve grace, and this transition is seldom smooth. It’s a subjective and bewildering process, a fundamental shift in perspective.

Frequent narration, through fourth-wall breaks and voiceovers, underscores the film’s commitment to allowing these women to tell their stories, reinforcing the emotional bonds that propel the narrative forward. Paired with recurring shifts in timeline and perspective, this narrative structure captivates the audience’s attention while maintaining a snappy pace, although not without some minor interruptions in the film’s flow.

“The Persian Version” is a portrait of a daughter as seen through the lens of her mother’s history. It bravely confronts the complex challenges of mother-daughter relationships while never failing to acknowledge the love and pain that coexist within them. With heartwarming childhood vignettes, poignant flashbacks to rural Iran, and hilariously awkward confrontations, the film encapsulates the full spectrum of family dynamics and the quest for independence within it with genuine sincerity. The film underscores the radical act of demanding agency in a world governed by expectations, treating it with the necessary gravitas and gusto. Yet, it also grants equal importance to the everyday moments of life that inspire laughter, motivating us to continue moving forward.

Movie review

Killers of the Flower Moon movie review

24 October 2023 by smgbnation.com

“Killers of the Flower Moon” is a film directed by Martin Scorsese, based on David Grann’s non-fiction book of the same name. The story revolves around the Osage Nation, who, after being displaced to Oklahoma, unexpectedly found themselves immensely wealthy due to the discovery of oil on their land. However, this newfound wealth attracted the greed of those who sought to exploit it, leading to a fierce battle for control of the region. The film primarily focuses on the characters of Ernest Burkhardt, Mollie, and William King Hale, played by Leonardo DiCaprio, Lily Gladstone, and Robert De Niro, respectively.

Hale, also known as “King,” is a manipulative figure who capitalizes on the turmoil in the region. He is portrayed by De Niro, who delivers a standout performance as a sociopath who can commit heinous acts with a smile. Hale manipulates his nephew, Ernest, who has returned from the war and becomes involved with the wealthy Osage, leading to his marriage to Mollie. Tragically, Mollie’s family and other members of the Osage community are systematically murdered. The story delves into the personal and emotional struggles faced by these characters, particularly Mollie, who deals with illness and the threat of violence in her community.

The film features a rich ensemble cast, including Jesse Plemons as a BOI agent leading the investigation into the Osage murders, John Lithgow and Brendan Fraser as opposing attorneys in the case, and Tantoo Cardinal as Mollie’s mother. Additionally, several musicians-turned-actors, such as Charlie Musselwhite, Sturgill Simpson, Pete Yorn, Jack White, and Jason Isbell, play compelling roles in the narrative.

“Killers of the Flower Moon” may not fit the mold of a traditional gangster film, but it aligns with Scorsese’s exploration of corrupt and violent men, a theme he has been exploring throughout his career. However, there is also a sense of historical reflection in the film, as Scorsese uses this true story to examine the roots of societal issues a century later. The film raises questions about how violence and injustice became integral to the accumulation of wealth and inequality in the United States, touching on issues like the Tulsa Massacre and the Ku Klux Klan.

The film’s success relies on the collaboration of a talented team. Rodrigo Prieto’s cinematography captures the vastness of the Osage Nation and intensifies the emotional impact of close-up shots. Robbie Robertson’s score adds depth and tension to the story, setting the film’s rhythm apart from a traditional, classical score. Thelma Schoonmaker’s editing skillfully paces the film, ensuring that it maintains its momentum through its lengthy runtime.

In terms of performances, De Niro and DiCaprio, two of Scorsese’s longtime collaborators, deliver powerful performances that complement each other in their roles. However, it is Lily Gladstone’s portrayal of Mollie that stands out, as she skillfully avoids melodrama and instead focuses on the authenticity of the character. The ensemble cast as a whole excels in portraying the harsh reality of the situation rather than turning it into a history lesson.

“Killers of the Flower Moon” is a piece of storytelling where every element, from the direction to the performances, comes together to form a compelling narrative. As the film concludes, it raises the question of how society should respond when confronted with the evil that operates in plain sight.

movie review

Review of ‘The Pigeon Tunnel’: An Engrossing Documentary Catering to the Tastes of John le Carre Enthusiasts

22 October 2023 by smgbnation.com

Story:

The Pigeon Tunnel” is an insightful documentary that delves into the life and career of David Cornwell, the renowned English author more widely recognized by his pen name, John Le Carre. Through a combination of personal interviews, archival footage, re-enactments, and captivating anecdotes related to his work, this documentary offers a comprehensive exploration of the man behind the legendary spy novels.

Review:

From the outset of “The Pigeon Tunnel,” John Le Carre references one of his favorite authors, Graham Greene, and quotes Greene’s profound statement, “Childhood is the credit balance of the writer.” This quote effectively encapsulates the life that unfolds throughout the documentary. Much like Le Carre’s mastery of words, the film flows seamlessly, resembling a well-composed memoir. Known for his reluctance to grant many interviews during his lifetime, Le Carre’s candid and free-wheeling conversation in this documentary is a rare treasure. He provides insights into his relationships with his father, mother, Kim Philby, Nicholas Elliott, and the individuals who inspired the iconic characters in his novels.

Errol Morris, the filmmaker and interviewer, expertly navigates the delicate process of peeling back Le Carre’s layers, ultimately uncovering previously unknown information. The questions posed to the author touch upon themes of ‘betrayal,’ a recurring motif in his literary works, and the documentary successfully unravels the roots of this fascination. It is evident that both Le Carre and Morris carefully curated and agreed upon the terms of the interview, as Morris, while probing, does not push beyond certain boundaries. Le Carre handles the questions with a distinct charm, enriched by his upbringing rooted in Oxford, Eton, and British intelligence agencies. His ability to recall childhood memories and life experiences with clarity is intriguing and captivates viewers throughout the documentary.

The documentary commences with an introduction to Ronnie, Le Carre’s father, described as a confident trickster. Ronnie’s involvement in cons, which continued until his son was sent to a boarding school and later attended Oxford, marked the beginning of Le Carre’s fascinating journey. His association with British intelligence agencies searching for individuals who were “bad but loyal” eventually led him into the country’s secret service. Le Carre also shares poignant recollections of his mother, who abandoned him at the age of five, leaving him with few memories aside from a brief moment of contact through her brother. As the documentary unfolds, Le Carre delves into the infamy brought to the nation by Kim Philby and how real-life people he knew and met were intricately woven into the fabric of his novels. Ronnie’s presence remains a recurring theme throughout the interview, a constant thread in Le Carre’s life story.

The interview is conducted in a manor house filled with books and mirrors, offering unconventional angles and creating an atmosphere that evokes a sense of mystery and intrigue, reminiscent of the spy world he often wrote about.

reveals that the character of George Smiley in “Tinker Tailor Soldier Spy” was inspired by his own idealized image of a father, a figure he never had in reality. His most renowned novels, including “Tinker Tailor Soldier Spy,” “The Spy Who Came in from the Cold,” “The Constant Gardener,” and “A Perfect Spy,” all of which were later adapted into films and series, drew extensively from his personal experiences. The documentary derives its name from Le Carre’s own memoir, published in 2016, which also served as the working title for many of his novels. Le Carre, in one of his explanations, offers a detailed account of why he chose this as the working title for much of his work.

“The Pigeon Tunnel” distinguishes itself by focusing not only on Le Carre’s literary achievements but also on the man himself. It delves into his personal life, providing a multifaceted perspective that enriches our understanding of both the author and his creations. When Le Carre muses about being referred to as an artist rather than just an author, it challenges our perception of him and the profound impact of his work. This documentary is engaging even for those unfamiliar with Le Carre’s literary legacy.

In sum, “The Pigeon Tunnel” is essential viewing for anyone seeking a deeper understanding of the brilliant mind responsible for some of the finest spy literature of the 20th century. It offers an intimate glimpse into the life and experiences of a literary giant and provides a captivating exploration of the man behind the enduring intrigue and espionage that have captivated readers for generations.

Official Trailer Apple TV+

Oppenheimer review: Christopher Nolan’s powerful, timely masterpiece deserves the biggest screens

13 October 2023 by smgbnation.com

Oppenheimer, much like the brilliant scientist it portrays, reaches a pivotal juncture in history, standing out in a cinematic landscape dominated by big-budget Hollywood productions drawn from corporate intellectual property. In a refreshing departure from the norm, Oppenheimer is an unapologetically cerebral film, replete with exceptional actors embodying real-life figures, a true story replete with illuminating historical details that many viewers will encounter for the first time. Despite its grounding in reality, the film exudes a grandeur befitting Christopher Nolan’s renowned IMAX screen.

The movie’s title makes its focus clear: J. Robert Oppenheimer, the eminent “father of the atomic bomb.” For a substantial portion of its three-hour duration, Nolan immerses the audience within Oppenheimer’s prodigious intellect, offering glimpses into the world as perceived by this theoretical physicist. The narrative often segues into mesmerizing visions of subatomic particles and celestial infernos. However, Oppenheimer also bears the hallmarks of a memory play, or perhaps an exhaustive biography reshuffled and presented out of chronological order. Even more so than Nolan’s previous film, “Tenet,” Oppenheimer dances through time, gracefully transitioning between various events spanning decades, elucidating connections that are logical but far from linear.

Cillian Murphy shoulders the demanding task of personifying the central figure within this universe, serving as the constant amid the ever-shifting tides of science and history. Murphy, a longtime collaborator with Nolan, has often been cast in pivotal supporting roles in the director’s projects, such as the menacing Scarecrow in “Batman Begins” and the primary target in the dream heist of “Inception.” While he has consistently showcased his acting prowess in leading roles elsewhere, most notably in the long-running Netflix crime series “Peaky Blinders,” Oppenheimer finally permits him to bring this facet of his skillset to the forefront. Murphy’s portrayal of Oppenheimer, his face etched with contemplation as he navigates the 20th century’s most intricate challenges, is as riveting as the film’s depictions of atomic explosions, deserving of the grandest cinematic canvas.

Just as Oppenheimer’s monumental achievements were the product of collaboration with other brilliant minds, Murphy is complemented by an ensemble of exceptional actors. Matt Damon infuses General Leslie Groves, the military leader of the Manhattan Project, with his trademark movie-star charisma, effectively concealing his underlying motivations beneath gruff charm.

Robert Downey Jr. assumes the role of Lewis Strauss, Oppenheimer’s rival for control over postwar nuclear policy, leveraging his formidable acting prowess to carve out a significant presence in the film. Strauss’ strategic meetings during the contentious 1959 Senate hearings over his cabinet nomination provide a departure from Oppenheimer’s direct perspective, marked by black-and-white color grading and Downey’s dominating screen presence. Downey, one of the most influential American movie stars of the 2010s, had been absent from the limelight for some time. Witnessing him deliver a substantial big-screen performance once more is a rare opportunity, particularly considering the meta-context of Downey and Nolan, both of whom played pivotal roles in the ascent of the modern superhero blockbuster, collaborating on a film exploring the ambivalence of an inventor towards his monumental creation.

Among the standouts in Oppenheimer’s stellar ensemble, David Krumholtz, known for his poignant performance in Tom Stoppard’s “Leopoldstadt” on Broadway, assumes a pivotal role as physicist Isidor Isaac Rabi. Krumholtz brings a valuable perspective as a Jewish character in a film centered around a Jewish protagonist (played by an Irish actor) who is fervently determined to develop the atomic bomb before the Nazis can. Rabi, however, adopts a more skeptical stance: “I don’t want decades of physics to culminate in a bomb.”

Albert Einstein, a vocal critic of the ostensibly anti-Nazi atomic bomb, is portrayed by Tom Conti with the demeanor of a venerable legend who has observed the world transform due to his seminal achievement, the theory of relativity, in a manner he does not favor. By the film’s conclusion, Oppenheimer will share Einstein’s sentiment. After all, the atomic bomb was ultimately not deployed against the Nazis but was used to devastate Japanese civilians.

The Manhattan Project was predominantly a male domain, a characteristic recurrent in many of Nolan’s previous works. Amid the critiques directed at the accomplished director throughout his career, one of the most enduring is his penchant for relegating female characters to the roles of “dead wives” whose spectral presence merely motivates the male protagonists. However, Emily Blunt’s portrayal of Kitty Oppenheimer defies this trope, endowing the character with vitality in the midst of the global crises of the 1930s and 1940s. Far from conforming to the archetype of a “devoted wife,” Kitty is unreserved in expressing her vexations with motherhood and her disillusionment with politics. In their scenes together, Blunt proves to be an excellent counterpart to Murphy, grounding him when he drifts into the ether and rekindling his determination when he appears resigned to let history run its course.

The film introduces another significant female character in the form of Jean Tatlock, portrayed by Florence Pugh, a rising star whose presence alongside more seasoned cast members might seem incongruous. Nevertheless, Pugh infuses Oppenheimer with a potent blend of sensuality and politics, two aspects of life that have often been overlooked in Nolan’s previous films. Tatlock was a committed communist and attended several party meetings alongside Oppenheimer, who, distressed by the rise of genocidal Nazism, sought to support the anti-fascist Republicans in the Spanish Civil War.

The film’s attention to political history imparts a contemporary resonance to its narrative. Oppenheimer, a summer blockbuster, features characters engaging in fervent discussions on the significance of labor unions and anti-fascist activism, coinciding with real-life labor union strikes within Hollywood. In a symbolic nod to these events, the film’s stars left the glamorous premiere as the SAG-AFTRA strike commenced. While viewers might anticipate the climax to revolve around the Trinity Test at Los Alamos (indeed, a spectacular sequence), the final hour delves into the closed-door hearing of 1954 when Oppenheimer’s security clearance was revoked due to his associations with communists. These scenes represent the broader McCarthyite era, illustrating how, despite the Allied victory over fascism, the use of Oppenheimer’s atomic bomb empowered reactionary forces at home to betray the very individuals responsible for their triumph.

Oppenheimer masterfully melds content with form. The film navigates intricate subjects such as quantum mechanics and political history, challenging viewers who may not consider themselves experts on these matters. Nevertheless, Oppenheimer expounds on these concepts in innovative ways, eschewing the conventional exposition dumps of “Inception” or the enigmatic complexity of “Tenet.” In a poignant scene, Oppenheimer elucidates quantum physics to Kitty, describing how all of existence is constructed from individual atoms, interconnected by forces that render matter perceptibly solid despite its inherently dynamic nature. Subsequently, Kitty underscores the fragility of existence by recounting her second husband’s fate, a union organizer who perished while combatting fascists in Spain. Her life, seemingly stable, was irrevocably altered by a single, minuscule bullet. In 1954, Opp.

Here’s the trailer: