Oppenheimer review

Christopher Nolan’s Oppenheimer is much more than just a biography of the man behind the atomic bomb. It tells the story of J. Robert Oppenheimer, but instead of simply going over historical events, the movie dives deep into the emotions, relationships, and big ideas that shaped him and his work. It mixes courtroom scenes, science, personal struggles, and politics—all in one powerful film. In many ways, it feels like a monster movie, not because of a creature, but because it shows how terrifying human invention can be when misused.

Cillian Murphy plays Oppenheimer brilliantly. His intense expressions show the inner conflict of a man haunted by what he helped create. Over time, you see him shift from a curious scientist to someone burdened by the consequences of his invention. The true monster here isn’t Oppenheimer—it’s the human thirst for power and destruction.

The film also features General Leslie Groves, played as a strong and straightforward military man. In contrast, Oppenheimer is quiet, thoughtful, and often shown buried in books. The movie cleverly uses changes in Oppenheimer’s appearance and behavior to show different timelines, like his early success and the painful security hearing he faced later in life.

The plot jumps between past and present, weaving together the making of the atomic bomb and a political hearing about Oppenheimer’s former colleague, Lewis Strauss. The structure can feel complex, and some moments—like a key scene with Albert Einstein—feel separate from the rest, adding to the dreamlike atmosphere.

This is definitely a movie that benefits from a second watch. While not as confusing as Tenet, it still has a lot to take in. One weak spot is how the female characters are written. Jean Tatlock (played by Florence Pugh) and Kitty Oppenheimer (Emily Blunt) don’t get much development, which feels like a missed opportunity.

That said, Oppenheimer is still a stunning film. The visuals, performances, and especially the sound are unforgettable. The soundtrack by Ludwig Göransson shifts with the story, and a repeated stomping sound that starts as a sign of victory slowly turns into something scary, reflecting the dark path Oppenheimer’s creation takes.