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Could ‘Oppenheimer’ Finally Win Christopher Nolan, Cillian Murphy and Robert Downey Jr. Oscars?
Clayton Davis Senior Awards Editor “Oppenheimer” has burst into the Oscar race. With the earnest and urgent cultural fabric of “To Kill a Mockingbird” and the philosophical measure of “The Tree of Life,” writer, director and producer Christopher Nolan’s chronicle of the creation of the most destructive weapon ever used stands as the most ambitious and vital piece of filmmaking of his career. Adapted from the book “American Prometheus” by Kai Bird and Martin J. Sherwin, “Oppenheimer” tells the complicated and morally fraught story of American scientist J. Robert Oppenheimer who led the effort to develop the atomic bomb. Nolan and his stellar ensemble of actors have amassed 27 Oscar nominations collectively throughout their careers. One of those who surprisingly hasn’t nabbed one is Irish actor Cillian Murphy, who plays the titular scientist. With dry wit and womanizing charm that effectively makes him the scientific version of Michael Fassbender in “Shame,” Murphy is an effective vehicle to lead the viewer through through reams of scientific terminology. In addition, his tour-de-force performance, which is sure to be in real consideration for best actor, is best displayed when showcasing the emotional toll such a creation can have on a person. Lead actors from competitive best picture players, especially from biopics, have been consistently recognized over the past few decades in Oscar history (see Benedict Cumberbatch for “The Imitation Game” or Christian Bale for “American Hustle”). Murphy could find his time has come after decades of memorable turns in “28 Days Later” (2002) and “Breakfast on Pluto” (2006).
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‘Oppenheimer’ Review: Christopher Nolan Makes a Riveting Historical Psychodrama, but It Doesn’t Build to a Big Bang
Owen Gleiberman Chief Film Critic In the early scenes of “Oppenheimer,” J. Robert Oppenheimer (Cillian Murphy), an American physics student attending graduate school in England and Germany in the 1920s, with bright blue marble eyes and a curly wedge of hair that stands up like Charlie Chaplin’s, keeps having visions of particles and waves. We see the images that are disrupting his mind, the particles pulsating, the waves aglow in vibratory bands of light. Oppenheimer can see the brave new world of quantum mechanics, and the visual razzmatazz is exactly the sort of thing you’d expect from a biopic written and directed by Christopher Nolan: a molecular light show as a reflection of the hero’s inner spirit. But even when “Oppenheimer” settles down into a more realistic, less phantasmagorical groove (which it does fairly quickly), it remains every inch a Nolan film. You feel that in the heady, dense, dizzying way it slices and dices chronology, psychodrama, scientific inquiry, political backstabbing, and history written with lightning — no mere metaphor in this case, since the movie, which tells the story of the man who created the atomic bomb, feels almost like it’s about the invention of lightning.

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