Still, Nolan juggles a lot, in a way that somewhat works to the movie’s detriment. That’s not necessarily a bad thing, and concerns about the latest war in Europe involving a nuclear power feed an unsettling “The past is prologue” sensation watching the movie, made more sobering by its protagonist’s naive hope that nuclear deterrence will make war “unthinkable.” In a way, this biography of Robert Oppenheimer, who came to be known as “the father of the atomic bomb,” serves as a sort-of World War II bookend for Nolan, along with “Dunkirk,” around his jumbled “Tenet.” Yet where “Dunkirk” possessed crisp economy, “Oppenheimer” sprawls out with a giant cast and back-and-forth structure that takes some time to settle in, and even then will likely leave many viewers rushing to Google to flesh out its details. Writer-director Christopher Nolan’s epic film essentially consists of three chapters, with the middle, Atlas-like, holding up the weaker, drawn-out beginning and end. “Oppenheimer” seeks to match the mythological nature of its central theme – an “American Prometheus,” punished for bringing humankind the seeds of its potential destruction – with a movie of equal heft, scale and (most of all) length.
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