After the bloated misfire that was Tenet, I really started to reflect on my thoughts on Christopher Nolan as a filmmaker. He’s quite harshly criticised by moviegoers even though he’s always had success critically and commercially. Some of those criticisms are valid; his narratives often become unnecessarily convoluted which can work against his technical prowess and Kubrickian attention-to-detail. Other takes, like “Batman is fascist!”, or “Why are his women only there to die?” aren’t even worth entertaining.

I’ve come to the conclusion that I respect him more than I generally enjoy his films, but when he hits, he really hits. I was mixed on The Prestige, which a lot of people praise highly. I liked Interstellar far more than most. His Dark Knight trilogy started out promisingly, struck gold in the middle and tapered out by the end (in my opinion The Dark Knight is the best superhero-adjacent film ever made, never mind the best Batman movie). Inception, though? Mid. Then there’s the underrated Insomnia, and Memento, which is good, but very of its time, so maybe it hasn’t aged as well.

I wasn’t feeling the hype for Oppenheimer, given its length and my lack of enthusiasm for Nolan’s recent output. The subject matter looked like something I’d be more interested reading about than seeing on the screen. But as soon as it starts, the kinetic energy is apparent. I was drawn in immediately, and my apprehension towards the film’s duration quickly faded. I really was expecting a slow-burn; what I got was an unconventional thriller, but instead of action, it’s driven by rhythmic dialogue, mind-blowing sound design and masterful editing.

All of Nolan’s greatest strengths are on display in Oppenheimer, and although his unconventional narrative framing remains, he’s made a conscious effort to strive for coherence. Instead of Hans Zimmer, his music collaborator this time around is Ludwig Göransson, and it’s a wonderful choice. This film is loud in IMAX; the soundtrack and sound design in general will stir you and swallow you whole. The score is constant and aids the captivating flow of the film, making the brief moments of silence that bit more impactful. There are so many excellent casting choices, with a combination of big-hitters and familiar character actors. It would be distracting if you weren’t so engrossed in the story. Cillian Murphy in particular is absolutely consumed by the part.

It was incredibly refreshing to go to the cinema to see this huge blockbuster which ended up defying my preconceptions in so many ways. It proves there’s a hunger for big movies which aren’t conventionally commercial and require a little bit more engagement from a typical audience. The film will have the staying power to outlive its Barbenheimer meme status, and is easily a career high-point for Nolan. It’s a character study above all, which runs counter to what we’ve been used to more recently from him. It pays off in spades. My anticipation for what he does next is higher than it’s been in a long time.