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Review

Oppenheimer (2023)

The Best Picture favourite going into awards season is none other than Chrostopher Nolan’s nuclear epic, Oppenheimer. Spanning the life and career of Robert J. Oppenheimer, the “Father of the Atomic Bomb”. Starring Cillian Murphy in the titular role, Oppenheimer is a three-hour insight into the work and personal life of one of the most controversial figures in modern history.

Written and directed by Christopher Nolan, Oppenheimer is based on the biography, American Prometheus by Kai Bird and Martin J. Sherwin. Nolan’s unique perspective stemmed from the writing process as the entire screenplay is written from the first-person. This exacerbates the fact that Oppenheimer provides a limited view as the titular character is in almost every scene. The film flits between key points in Oppenheimer’s life spanning his beginnings as a budding physicist to the aftermath of the nuclear bombings on Hiroshima and Nagasaki. Nolan’s direction feels controlled and focused, his passion for the project coming through in every frame.

As the titular character, it can be argued that Oppenheimer lives or dies from the Cillian Murphy performance. Murphy can always be trusted to bring a nuanced performance. His turn as Oppenheimer is so intimate and yet always holding the audience at a distance. Seeing his internal conflict between the scientific achievements and the ethics rise to the surface in the final act is gripping. The scene in which Hiroshima has been been bombed and Oppenheimer begins to envision corpses on the follow among the ruptuous applause from his colleagues is one of the best scenes in any Nolan film.

Providing a standout performance in support is Robert Downey Jr. Having dominated cinema screens for the past decade as Iron Man in Marvel Cinematic Universe, Oppenheimer may be the first project a lot of people have seen Downey Jr outside of the franchise. The performances couldn’t be more different and sees Downey Jr return to form. Playing the antagonistic Rear Admiral Lewis Strauss who is hellbent on taking Oppenheimer down, he commands every scene he is in. His scenes with Murphy are among the best in the film and it’s up there with his other phenomenal turns in films such as Chaplin and Tropic Thunder.

Cillian Murphy is J. Robert Oppenheimer in OPPENHEIMER, written, produced, and directed by Christopher Nolan.

There are a plethora of supporting turns in the film that are impressive. Another that is garnering a lot of attention is Emily Blunt as Katherine “Kitty” Oppenheimer. One consistent critique of Nolan’s previous films are the lack of female characters. When there are female characters, they tend to be underwritten. Kitty is probably the most in-depth female character that Nolan had included in his filmography. Blunt’s performance is subtle and brilliant, especially towards the end when her anger at the government is evident following their dismissal of her husband.

The score by Ludwig Gorrenson captures in the inevitability of the bomb. Filled with dramatic crescendo and loud bombastic sounds, Gorrenson’s music becomes a dominant force during the film’s climactic scenes. The opening track “Fission” really highlights the anticipation and inevitable change in history. Gorrenson isn’t afraid to change the tone and pacing of tracks to emphasise the unpredictability and shift in dynamics and events.

The cinematography by Hoyte van Hoytema is stunning. The standout scene in the film is when the Trinity Test is carried out and this is thanks to van Hoytema’s incredible work. The focus on Oppenheimer as he waits for the results swiftly followed by blinding light marks a visual change in the film. The scenery in Oppenheimer consists largely of open spaces but there is such a pinpointed focus on the characters that it really closes the environment in towards Murphy and his performance.

Overall, Oppenheimer does have a runtime that could have been edited down ever so slightly, especially in the first act. However, it is also one of Nolan’s best films as director. His passion and knowledge on its subject piercing through every frame from beginning to end. It is a film filled to the brim with details and nuanced performances that makes it easy to see why it is garnering so much critical and commercial praise.

What did you think of Oppenheimer? Let me know in the comments below!

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Review

The Holdovers (2023)

One of the most competitive films coming into awards season is The Holdovers. While a lot of awards talk has been surrounding Barbie and Oppenheimer, Alexander Payne’s modern fable is a Christmas classic in the making. The film follows disgruntled boarding school teacher, Paul Hunham (Paul Giamatti) who must stay at the school over the Christmas break. Stuck with a rebellious but brilliant student (Dominic Sessa) and a cook grieving her son who died in Vietnam (Da’Vine Joy Randolph), the film sees a friendship develop between these characters.

Directed by Alexander Payne from a script written by David Hemingson, The Holdovers is simple yet extraordinary. In true Payne style, we are immersed into the surroundings. The minimalism of snowy Boston and the regal halls of the boarding school give an immediate sense of space. Hemingson’s screenplay is a masterclass in writing. Providing plenty of characterisation for its three main characters, The Holdovers gives Giamatti in particular a lot to play with in a relatively short run time.

Paul Giamatti leads the film as miserable teacher, Paul Hunham. The role was written with Giamatti in mind and it’s easy to see why. Hunham’s arc from cynical disciplinarian to vulnerable rule-breaker is not a role that just anyone can play. Having previously been snubbed for his leading performance in Sideways (another Alexander Payne film no less), Giamatti has managed to craft an incredible career playing predominantly supporting characters. This even includes an Oscar nomination for his supporting turn in Cinderella Man. However, it is undoubtedly his magnificent turn in The Holdovers that will be his crowning glory in a truly stunning career.

The most exciting breakout this award season Da’Vine Joy Randolph as Mary Lamb. Her performance is quiet, subtle, and completely heartbreaking. Her presence can be felt in each scene like a raincloud looming that is waiting to burst. The party scene in which we see Mary breakdown over the loss of her son packs an emotional punch. If Giamatti is the soul of the film, then Randolph’s is definitely the heart. It’s incredible to see such a wonderful performance sweeping various major and critic awards.

Providing an exceptional film debut is Dominic Sessa as student, Angus Tully. It’s difficult to believe that this is Sessa’s first ever role. He fits into the role of Angus fantastically, working excellently against Giamatti. It’s evident that he is having fun in the role and the bickering scenes between him and Giamatti are hysterical to watch.

One of the most striking and underrated parts of The Holdovers is the cinematography by Eigil Bryld. Bryld’s understated approach allows the natural beauty of each location to shine through. The dimly lit corridors of the boarding school allow the antiquity and traditional mindset to come to life while the snowy weather is framed in a bleak way due to the baroness of the town.

The music by Mark Orton provides a tranquil backdrop to the film. Never faltering, the music blends with the snowy scenery and exacerbates the heartwarming emotions at the core of the film. Filled with 1970s sounds, Orton does a phenomenal job of capturing the characters’ essence in each track.

Overall, The Holdovers is a Christmas classic in the making. While it may not be family-friendly, this is a feel-good film that is filled with heart-warming characters and backed with an excellent script. This marks Giamatti’s career-best performance, a stunning breakthrough for Randolph and Sessa, and outstanding direction from Payne.

What did you think of The Holdovers? Let me know in the comments!

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Review

Barbie (2023)

One of the biggest cultural phenomena of 2023 was undoubtedly Greta Gerwig’s blockbuster hit, Barbie. Making up one half of Barbenheimer (Barbie and Oppenheimer), Barbie uses the iconic doll as a way to explore women, feminism, and the human condition as a whole. Starring Margot Robbie as the main Barbie, Ryan Gosling as the main Ken and a plethora of stars in support including American Ferrera and Will Ferrell, Barbie is a film for the ages.

Directed by Greta Gerwig and co-written by Gerwig and Noah Baumbach, Barbie is full of satire and isn’t afraid to poke fun at Barbie’s manufacturer, Mattel. Gerwig can simply do no wrong from the Powell and Pressburger-inspired set design to the bonkers musical number in the film’s climactic final act. Barbie is a film that feels timely in its messaging and themes and timeless thanks to its various nods and tributes to films past.

Margot Robbie is perfect casting as Barbie. Time and time again, she has subverted expectations, providing brilliantly layered performances. From her turn as Tonya Harding in I, Tonya to her starry-eyed performance as Sharon Tate in Once Upon a Time in Hollywood, Robbie isn’t afraid to try something different and new. The scene in which she encounters Ruth Handler (Rhea Perlman) near the end of the film sees Barbie spanning a plethora of emotions as she sees what it means to be human.

Ryan Gosling provides a hilarious and memorable performances that is one for the ages. Where Barbie is quickly objectified by society in the real world, Ken realises that a patriarchal society means he can take control of Barbieland with the other Kens. Gosling is on another level in this film. It’s clear he is having fun in the role and he isn’t afraid to truly go for it. The rivalry between Gosling’s Ken and Simu Liu’s Rival Ken is hysterical to watch as they vie for Margot’s Barbie’s attention.

Providing the film’s most iconic and pivotal moment is America Ferrera as Mattel employee, Gloria. Serving as Barbie’s way in to understanding how the real world works, Ferrera’s performance is grounded and reminiscent of what it’s like to be a 21st century woman. The monologue scene is delivered perfectly, encapsulating the frustrations of what society expects from women. Ferrera and Robbie play off each other excellently, finding the common ground between them.

The cinematography by Rodrigo Prieto is plastic and fantastic, making use of the Barbie aesthetic. The bright pinks and pastels bounce off the screen deliciously, contrasting greatly with the imperfections of the real world. Prieto has had an excellent year working on Barbie and Killers of the Flower Moon. His work on Barbie has helped make it one of the most visually recognisable films of the year.

The music by Mark Ronson and Andrew Wyatt plays on the fun, plastic world of Barbieland. It immediately immerses you and sucks you into the uplifting atmosphere. The soundtrack is filled with ecletic dance tracks from the likes of Dua Lipa and Charli XCX. However, the standout tracks are “I’m Just Ken” sang by Ryan Gosling and the emotional ballad “What Was I Made For?” by Billie Eilish. The latter is most likely to give Eilish and cowriter FINNEAS their second Oscars and it’s well-deserved.

Barbie is a delight from the opening tribute to Stanley Kubrick’s 2001: A Space Odyssey to the concluding one-liner. It’s a film that reveals more each watch. The dazzling visuals, top-notch acting, and impeccable script make Barbie one for the ages.

What did you think of Barbie? Let me know in the comments below!