For the Christopher who cleared the author's blockbuster, to sublimate the superheroes with super torments, the depiction of his usual topoi and trademarks continues.
Proverbial dissertations on the arbitrariness of affections, in the course of Space Odysseys, through "dominant strategy", in Search of Lost Time in which to find a Yin & yang (inner and outer) that takes shape culminating in a relatively sinister, threatening and apocalyptic vision. Relatively. Because this time the dark side is only partially threatening, compared to the one depicted in Strangelove. In other words, the message creeps in that, for better or for worse, a future in Gotham City always awaits us around the corner.
Of a blockbuster, it has only the mainstream cast. And a workhorse montage of a major season. Elements that can already compete for nominations for the Academy Awards.
Julius Robert Oppenheimer is a Vitruvian man. A little different from the one described by Malcolm Gladwell in the non-fiction Outliers. Just look at his interactions, owing the Rule of the Game to an Altman-esque plot. At the same time Matt Damon, Downey jr. & co. Put on a mask, without turning into a "tench". We suspect and regret that Michael Caine would have been a perfect Einstein.
The plot is more usual than usual. Let me be clear, we have plenty of flashbacks and parallel montages. Also with surreal, futurist and hyper-realistic touches. With a total mastery of the set and the themes, already exhibited in Dunkirk, which fears no rivals in Aronofsky, Iñárritu or even in Paul Thomas Anderson.
Like Interstellar, in some sequences, the most obvious visual reference is the Cosmos docuseries (in particular the one with Neil DeGrasse Tyson). To go back to the masters of other times, there is more and more entrepreneurial spirit in the reconstruction of a set in the west(ern) on which Hollywood was born, following the tradition of John Ford and his pupils (or followers).
Instead, for the masses, despite the added value of a structured viewing for IMAX screens, it can come as a massive and exhausting work. That is, what happened and happens to those who see a film by David Lean like Lawrence of Arabia. In fact, Cillian Murphy, the former Peaky Blinder, already busily lunatic and spirited in a (professional) role similar to Danny Boyle in Sunshine, is increasingly Peter O' Toole's heir.
As Variety noted, the segment of the first nuclear test may be the center of gravity on which all the work revolves. And it can become a milestone of the seventh art. We live the stroke of the Atomic Age with our own eyes, just as we observed on our skin the symptoms of schizophrenia in A Beautiful Mind. Or the breaking of the sound barrier in the documentary Senna.
While a good storyteller like Ron Howard concocts chronicles for episodes with a known epilogue, moreover representing obstacles to their crowning, here we have an Author like Nolan who, among those of his generation, now competes only with Tarantino in terms of style. Like a famous sequence from Reservoir Dogs, we even feel a hidden anguish for that situation with a well-known and perhaps outdated outcome. Around this scene, throughout the rest of the film, revolves a story of the trial, which in its way follows the archetype of Caine Mutiny with Bogart, able to satisfy the needs of the plot, rather than the expectations.
Won't it be a masterpiece? Of course, it's not a step backwards in the director's filmography.
Proverbial dissertations on the arbitrariness of affections, in the course of Space Odysseys, through "dominant strategy", in Search of Lost Time in which to find a Yin & yang (inner and outer) that takes shape culminating in a relatively sinister, threatening and apocalyptic vision. Relatively. Because this time the dark side is only partially threatening, compared to the one depicted in Strangelove. In other words, the message creeps in that, for better or for worse, a future in Gotham City always awaits us around the corner.
Of a blockbuster, it has only the mainstream cast. And a workhorse montage of a major season. Elements that can already compete for nominations for the Academy Awards.
Julius Robert Oppenheimer is a Vitruvian man. A little different from the one described by Malcolm Gladwell in the non-fiction Outliers. Just look at his interactions, owing the Rule of the Game to an Altman-esque plot. At the same time Matt Damon, Downey jr. & co. Put on a mask, without turning into a "tench". We suspect and regret that Michael Caine would have been a perfect Einstein.
The plot is more usual than usual. Let me be clear, we have plenty of flashbacks and parallel montages. Also with surreal, futurist and hyper-realistic touches. With a total mastery of the set and the themes, already exhibited in Dunkirk, which fears no rivals in Aronofsky, Iñárritu or even in Paul Thomas Anderson.
Like Interstellar, in some sequences, the most obvious visual reference is the Cosmos docuseries (in particular the one with Neil DeGrasse Tyson). To go back to the masters of other times, there is more and more entrepreneurial spirit in the reconstruction of a set in the west(ern) on which Hollywood was born, following the tradition of John Ford and his pupils (or followers).
Instead, for the masses, despite the added value of a structured viewing for IMAX screens, it can come as a massive and exhausting work. That is, what happened and happens to those who see a film by David Lean like Lawrence of Arabia. In fact, Cillian Murphy, the former Peaky Blinder, already busily lunatic and spirited in a (professional) role similar to Danny Boyle in Sunshine, is increasingly Peter O' Toole's heir.
As Variety noted, the segment of the first nuclear test may be the center of gravity on which all the work revolves. And it can become a milestone of the seventh art. We live the stroke of the Atomic Age with our own eyes, just as we observed on our skin the symptoms of schizophrenia in A Beautiful Mind. Or the breaking of the sound barrier in the documentary Senna.
While a good storyteller like Ron Howard concocts chronicles for episodes with a known epilogue, moreover representing obstacles to their crowning, here we have an Author like Nolan who, among those of his generation, now competes only with Tarantino in terms of style. Like a famous sequence from Reservoir Dogs, we even feel a hidden anguish for that situation with a well-known and perhaps outdated outcome. Around this scene, throughout the rest of the film, revolves a story of the trial, which in its way follows the archetype of Caine Mutiny with Bogart, able to satisfy the needs of the plot, rather than the expectations.
Won't it be a masterpiece? Of course, it's not a step backwards in the director's filmography.
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