Tyler Duswalt’s review published on Letterboxd:
I often find that Nolan’s works are a war of attrition. Heavy on exposition or explanation and jumping around locations or timelines, they often exhaust you until you yield to the notion that the film is always a step ahead of you. And while that’s lightly present in Oppenheimer, it was easily digestible this go around, a symptom of Nolan’s unapologetic style rather than this overbearing quality. There was much more emphasis on characterization in this one, a commitment to the life and people in the center of it all. Breakneck in its dialogue pace at times, sure. Lacking in breathing room despite its 3 hour runtime, yeeeah. But damn those first two acts were some fine ass work, and I’d venture to say Nolan’s best in his career. Layering morals and social contexts and ideas of personal worth and a ton more with apparent ease, something I haven’t seen done nearly this well in his previous outings. And I have to draw attention to the editing, which I found had a selection of sharp, stunning moments. Especially those which sought to capture Oppenheimer’s subjective visions or his signs of unraveling post-detonation. As for the the third act, it felt thematically messy, and the transition to it was fairly rushed, left-field. Still, overall, I’m quite happy that something with this much to chew on was hard to book tickets for. I hope Nolan’s filmography serves as further proof and inspiration that there is a massive audience craving craftsmanship and tight execution from the industry.
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