Oppenheimer

 

Gillipedia Official Rating: The moral qualms of enjoying a movie with such a heavy subject

Score: 10/10

          Why Christopher Nolan is my favorite director is that he’s always pushing himself with each new film that he does. He tackled the superhero genre, played with our minds and time, went to outer space, did a war film, and then messed with time traveling. This film is let’s do a biopic, but do it the Nolan way. So that means out of order scenes and incomplete scenes that finish later, a slew of practical effects, a giant ensemble cast, and a booming score and sound design that occasionally drowns out the dialogue. I’m not here to say that you will love Oppenheimer. This is a 3-hour movie that tackles the incredibly difficult conundrum that was building a bomb during WW2 before the Nazis could—the idea of killing thousands if not millions in order to end the war and stop the potential deaths of even more. There’s a few reasons why you wouldn’t agree with my scoring, and I’ll address those. I’ll also say that this isn’t my favorite Nolan film. But just like what you may have previously seen in my last review and love letter to Tom Cruise is a similar love for what Christopher Nolan does, and I think he just created one of the best biopics of all time.

          The first 15 minutes are marvelous. It’s a quick way to get through the early history of our main character, real life physicist Robert Oppenheimer, and it sets the stage for all the future conflicts of the film. This includes the building of the atomic bomb, government hearings afterward that I wasn’t at all familiar with, and the internal struggles Oppenheimer had to grapple with for creating the most destructive weapon of all time. And it’s not just within the first 15 minutes, but within the first moments that I got my IMAX money’s worth with Oppenheimer’s vision of what capabilities they had for a bomb as well as the insane audio of explosions and surrounding outside noise that also pressured him during those decisive years.

          If you’re worried I’m giving too many details already, fair enough, but I promise to keep things vague from here and spoiler free (spoiler, there is an atomic bomb that makes a presence). As we explore how Oppenheimer became the project director for Trinity (the bomb diggity project), Nolan also sprinkles in other timelines including a closed-door hearing regarding… something. I’m not the biggest history buff, and although it’s explained brilliantly later in the film, if you’re not familiar with the real subject matter, I won’t expose it here. But there’s actual testimonies taken and used, and many characters bring in their opinions and continue to interact with Oppenheimer throughout the film—particularly with the Trinity Project. So yes, the lead up to Nolan creating an actual explosion is the big selling point of the film, and it is obviously glorious. But there’s a few other plotlines in here and an overwhelming amount of characters that all have their own purposes for the story. It’s not the most incredible storyline you’ll ever see with themes that transcend time or anything, but it is a truly engaging film the entire time—yes, all 3 hours of it.

          I sincerely believe Oppenheimer will not only make an appearance at the Oscars next year, but I think it will also be taking home multiple awards. What is too early to call as a win but should absolutely be a nomination is the star of this film, Cillian Murphy. Early on, I had always found it interesting that he auditioned for Batman, lost out to Christian Bale, but Nolan liked him so much that he gave him the Scarecrow role and told him to take off his glasses any chance he could with those dreamy blue eyes. And Murphy has been a staple of Nolan films since, even more than any other actor outside of Michael Caine. He did the whole Dark Knight trilogy, was in Inception as well as Dunkirk. And if people weren’t aware of him from any of those films, I’m sure there’s more than a few Tom Shelby fans for his starring work in the Peaky Blinders show. Yes, this Irish actor is often playing an American for Nolan films. And as much as I take films simply as they are, I love to see how the supporting character not only steps into the starring role for Nolan, but he absolutely shines. This is not an easy feat. This is a long film spanning decades of time with real people and morally grey subject matter. One thing that particularly stood out to me was all the scenes where Oppenheimer is interacting with someone else and just how much the editor chose to use Murphy’s reaction shots. If I’ve lost anyone, basically, if two people are talking, the editor has 3 choices: show the person speaking, the person listening, or a wide shot of the 2. So not only is Murphy in the bulk of all these scenes, he’s front and center and we’re constantly watching his sunken in face to find the minute reactions and gauge the thoughts of a complex, brilliant man. There’s too much time left in the year to declare him the winner, but I will protest if Murphy is not nominated for Best Actor.

          As I was saying before, this film has a mind-boggling ensemble. It felt like a Wes Anderson film where A-list actors readily sign up knowing full well they may not have more than 10 lines of dialogue. We have some Nolan returners like Matt Damon who does a fantastic job, the creepy guy from Dark Knight that hilariously played Polka-Dot Man in The Suicide Squad, and a surprise cameo that I won’t reveal. And there’s too many recognizable actors to list here, but some notable ones off the top of my head include the always great Florence Pugh, an intricate performance from Emily Blunt, a great role from Benny Safdie (of the Safdie brothers who famously directed Uncut Gems), and a very large supporting role for Robert Downey, Jr. not playing Tony Stark.

          Let me reiterate one more time: this is a 3-hour film and is dialogue-heavy. However. Nolan uses many tricks in the book to never feel like a scene is in there unnecessarily or that it slows down anywhere. Whether it’s the IMAX camera subtly moving or if it’s actors crossing through the sets and interacting with objects, there’s always something dynamic happening that draws the eyes. To the point that yes, there were times where I lost focus momentarily and was trying to catch up on what the characters were talking about. And I did not leave with 100% clarity, but did you watch a Nolan film if you did? He has always had a knack for some punchey lines, but the story is always more important than the dialogue, and that’s still the case here. There’s also the aspect of color versus black and white. Nolan’s first film (which I haven’t seen) I believe was in black and white more due to the limited budget, and he sparingly used it for scene transitions in Memento. But this is easily the biggest scale he’s included black and white. If you’re not aware of why it’s in there, I think it’s one of the fun puzzles to try to solve, and I’d encourage you not to look into it before watching the film. The third aspect is the sound and score. True for any Nolan film, the score is fantastic. Nolan has also stated with films like Interstellar, he had an increased focus on sound design and how that enhanced the theater experience. Here, it’s actually incorporated into the themes and metaphors presented. There’s a scene probably about two-thirds in that I think is a masterpiece of a scene that includes great visuals, the perfect juxtaposition of Oppenheimer’s mindset, and how it all connects through sound. Another aspect that I think plays beautifully is the makeup. There are historical figures that people will easily recognize, and they’re incorporated seamlessly. But like I have already said, this film spans decades, and one of the best ways to keep the storylines straight is how they age Oppenheimer throughout, and I give large credit to makeup and hair for what they achieve here. Sound design is a shoe in for the win, cinematography undoubtedly is nominated, and I’d love to see Nolan finally recognized for directing (possibly even writing here), score, makeup, production design, and a win for editing. I’m not asking for too much, am I?

          For all the hoopla around Nolan creating practical effects and explosions, that’s not how this film lives and died. I avoided most press before watching the film, but there was a commercial for the film that cracked me up because it flashed the names of RDJ, Matt Damon, and Emily Blunt, and then it gave the last name credit for Cillian Murphy. Without a doubt in my mind, this movie doesn’t succeed without Murphy. He fully embodies this complex scientist who isn’t a role model or anything but undoubtedly impacted the world tremendously. Safdie’s character questions how Oppenheimer truly feels about their work, and it’s in this ambiguity of advancing science and trying to justify ending the war where the emotions of Oppenheimer live. There’s no dumb dialogue of Oppenheimer ever saying, “Frankly, my dear, building this bomb in fact makes me a little sad. No cap.” We get great visual and audio representations from Nolan, but oftentimes it’s Murphy briefly looking into the distance only to snap back into reality to make quick decisions because that’s what their deadline demands, and it’s all these little moments that add up over 3 hours that carries this film. Nolan and Murphy have long collaborated on some of my favorite movies of all time, and along the way each one has grown in their careers. They put all that experience together in crafting what I believe is a near-perfect biopic. It’s a long, daunting film that requires your attention, and a palette cleanser will be necessary afterward, but it’s a journey well worth taking. In IMAX if possible.

Mission: Impossible - Dead Reckoning Part One

 

Gillipedia Official Rating: Don’t worry, this is both Part One and Part Two of this review

Score: 9/10

          Let’s start out by making sure we all understand each other. If you told Tom Cruise to run across the street to pick up some milk from the store, not only would I watch, I would still probably give it a 9/10 because I’m absolutely biased and love watching this man perform his own stunts. With that being said, unbiasedly, MI7 is over-the-top, thrilling, a little cheesy, and I ate it all up. If you’re a fan of any of the previous entries or are looking for something a bit like James Bond, this is a film for you. Some of the stunts are insane, the locales are beautiful, and this genuinely has one of the best scores in an action film of recent memory. Let’s discuss.

          Instead of something like an inconsequential action scene, this entry starts with a more plot-driven tense scene with a Russian submarine. Yes, this does kick off the whole plot about an AI that has become sentient enough to organize an international threat and scale beyond what has been seen in any prior film, but I do slightly miss starting off with some quick action showcasing a crazy Tom Cruise stunt. Even so, the way our actors emphasize the threat of our villain is a bit silly, but it is timely enough still to actually be reasonable in its threat as well. And just like how previous entries like Mission: Impossible 3 had the mysterious “rabbit’s foot” that drove our characters and villains into action, there’s a mysterious 2-part key that is -ahem- the key to stopping the AI. And when Cruise, excuse me, Ethan Hunt, learns that previous associate Ilsa played by Rebecca Ferguson has one of the 2 keys, this propels our hero into action to help her from hired mercenaries sent to steal the key and kill her in the process.

          I’m slightly mixed on Ferguson’s involvement. She’s been one of the best additions since her introduction back in Rogue Nation, but her character has taken more of a backseat to professional thief Grace played by Marvel’s Peggy Carter (Hayley Atwell). Simon Pegg and Ving Rhames return as well to round out the shortlist of IMF (Impossible Mission Force) agents. And both Pegg and Rhames get to have tons of fun with this film since they’re more the coders that hack into systems, and the villain this time is an AI that operates exclusively through code, and I think they handled how they have to combat the AI pretty well.

          Thematically, this is a classic Mission: Impossible experience. I’m talking characters using full face masks, characters that sometimes work in their own interest and sometimes help Ethan out, and of course, Tom Cruise doing stunts. Cinematically, this is one of the best in the series and takes slightly from the neon and candlelight vibes of the John Wick series. There’s an extensive car chase sequence with, again, great practical stunts. It’s a joy to watch, but I do wish shots lingered just a hair longer to really highlight Cruise driving around.

          All of this leads up to a climactic sequence on a train involving all of our characters. Grace is pretending to be someone else to make a deal to try to discover what our 2-part key unlocks, and Ethan has to find a different way onto the train to assist Grace. If you haven’t guessed already, Ethan trying to find a way onto the train is the catalyst for Cruise driving a motorcycle off a cliff in Norway into a base jump. It’s the big selling point of the film, and it indeed is quite nuts. I had watched some behind-the-scenes footage before watching the film, and Cruise not only actually did that stunt, he did it 6 times to get the shot… and probably because he simply enjoyed it too. I won’t say too much, but even after that stunt is a whole sequence that was basically taken straight out of the Uncharted 2 videogame—people who have played will know exactly what I’m referring to immediately.

Even if you inserted that exact same motorcycle/base jump stunt in let’s say the live action Mulan film, that doesn’t make that film great. You still have to build around the stunt with a meaningful story and characters to root for, and that’s where this series has always succeeded and where this film really triumphs. The way they go into an action scene with a plan only to have to improvise every time something goes wrong is exquisite, and it is exhilarating. This Part One film is on the longer side, but it moves fast thanks to the rhythmic drums that keeps you on the edge of your seat desperately trying to figure out how our heroes get out of these -ahem- impossible situations. The way the score instills suspense and the story beats lead up to the stunts is how this film earns the laurels of a 9/10. I saw this film in IMAX, and as cool as it was to see the stunts on a larger screen, it was the insane audio quality that really enhanced the experience. Tom Cruise repeatedly talks about how he approaches films with the audience in mind—which is not always a successful strategy or one that directors recommend. But teaming up with writer/director Christopher McQuarrie for a third time now shows how this series can continue to improve with age with its death-defying stunts, fun characters, and an admittedly cheesy but thoroughly enjoyable action story. I don’t know how much longer Cruise can possibly continue to put his life on the line, but cinema will not be the same after him.

The Flash

 

Gillipedia Official Rating: Slowing down with superhero fatigue

Score: 7/10

Ezra Miller Adjusted Score: 4/10

 

          I always pride myself in separating outside factors and judging a film on its merits; however, there is simply so much noise that led up to The Flash that it was impossible not for it to factor into my viewing experience. This includes the current state of DC and how James Gunn is pressing restart on the universe, and there’s the incredible controversy of star Ezra Miller’s problematic arrests and misbehavior leading up to release. If you want to research more into this yourself, you have the internet at your fingertips. So with all that being said, how was The Flash? Honestly, it’s an entertaining experience. Cameos galore of current and former superheroes fill up yet another multiverse movie. The shine that films like Spider-Man: No Way Home brought with the possibilities of bringing past actors back from dormant franchises has diminishing returns a few years later. Even still, The Flash fully warrants a 7/10 with a great supporting cast of characters, some fun action, and—and this is where I think people refused to give the film its props—an honestly pretty great and funny duo performance by star Ezra Miller.

          We start off quick with Ezra’s Barry Allen trying to keep his protein intake to par with the amount of running his superhero duties require, and that gets interrupted by a hospital on the verge of collapse. Batman’s Alfred calls him into action while explaining how the rest of the Justice League heroes are off elsewhere—and, well, at this rate, won’t ever be back… Ben Affleck’s Batman is chasing down some baddies, leaving some literal cleanup duty to Flash. I saw some articles about the director having to defend the visuals while Flash is in his superspeed mode and how if the audience thought it looked off that it was intentional. Well, that’s for sure some bs. Many aspects of the superspeed look fine, but when we get to a maternity ward with a dozen babies falling stories to their death, boy oh boy are those some ugly babies. Uglier than the unseen Seinfeld baby. Worse than the American Sniper fake baby. These are some creepy extraterrestrial little poopers. But there’s also some really funny ideas implemented on how Flash can save them—like transporting one baby in a microwave only to hear that “Ding!” when Flash saves them and signifies it’s safe to take the baby out the microwave.

I won’t say too much about the different characters that appear, but Affleck is only here for the opening, and he honestly has some super solid fatherly advice to give Barry. They bond over tragic parental stories, and while Bruce Wayne has come to terms on how that grief formed for better and worse who he is today, Barry remains fixated on the idea that his dad doesn’t have to be in jail for falsely being accused of murdering his mom if Barry could simply change one aspect of the past of that formative day. Very similar to say Peter Parker, the nerdy Barry struggles with human interaction, is funny in a very dorky way, and closes himself off to the issues that faces Barry because the issues Flash deals with feel more important. So it doesn’t take much self-convincing for Flash to speed up fast enough to travel into the past. He goes back to the day his mom died, catalyzing the self-referenced butterfly effect, and then when he tries to return to present day, something happens and Barry finds himself back in time by about 12 years.

Needless to say, in this time period, there’s another Barry Allen that grew up significantly differently. And it’s not just Barry that is different, this of course, is a whole new multiverse where characters like Batman exist but are different from what present-day Barry knows. So a couple things to discuss. One, the way Ezra Miller plays both present and younger Barry is so much fun to watch, and he truly encapsulates who the character of The Flash is supposed to be. Younger Barry brings plenty of laugh-out-loud moments to this much lighter DC franchise. What we also take for granted is simply how they filmed this. This is not the first time an actor has played multiple characters that appear on-screen at the same time, but this is seamless. Yes, they do themselves favors by having plenty of shots where the two Barry’s are on opposite sides of the frame and don’t cross to make it easy to simply shoot things twice, or they have the backside of one so Ezra can play Barry while looking at a stunt double or a stand-in. And this big budget film also uses plenty of full CGI replacements for the action scenes. But there’s also a lot of quick dialogue and interactions that the two Barry’s have with each other that is executed flawlessly. There is lots of issues with the visuals including the multiverse realm that Flash uses to travel through time that weirdly decides to use CGI for all of the characters and truly looks plastic/claylike. There’s plenty of other rubber-looking movements in small chunks noticeable throughout, but the way they have two Flash characters is a highlight. A couple years back there was a middling Seth Rogen film called An American Pickle that took the two characters-one actor concept to a new level, and this rivals what they achieved there.

Also highlighted heavily in the trailer is Michael Keaton reprising his role as Batman to fulfill the funky multiversal element of this film. There’s easy callouts to his iconic lines, costumes, and gadgets, but there’s also clever Easter eggs too. For example, they convince this older, retired Bruce Wayne to help them find who they think will be Clark Kent/Superman to take care of Zod (the villain from Man of Steel once again played my Michael Shannon). And as Batman glides down through the night, his outline takes the classic bat shape against a full moon background as Danny Elfman’s iconic score plays; even though I’m tiring from multiverse movies and bringing back older actors, I’m not cold-hearted enough not to feel the joy this brings, like thinking back to wearing light-up Velcro sneakers.

Sasha Calle plays Supergirl here, and I would definitely be interested in seeing her in future DC projects. This film is filled with lots of action, some good, some that feels more of the same, CGI action that has dulled the genre over roughly the last 5 years. And part of me is happy to see the integration of so many other superheroes making this like a Justice League Lite kind of film because it allows Flash to shine but doesn’t force his character to carry the film. But it’s impossible to see the other heroes and the cameos of other characters without feeling a little annoyed inside knowing that this could very well be the last time we see some actors portray these characters. There’s even the thought of what could’ve been if Cyborg could’ve been in the film if not for the behind-the-scenes drama between DC executives and the Cyborg star. By the time we reach the end, we haven’t broken ground on new ideas or themes. And unlike how Guardians of the Galaxy Vol. 3 put bows on its characters so well knowing that this was their last adventure as a crew, you get nothing of the sort here. It’s like taking a shot of ranch after eating a decent dinner. The bad ick of too much stays with you, and there’s no dessert to look forward to, leaving ranch dripping down the side of your lips. I really believe this film received the mixed reception that it did because people didn’t separate art and artist and were determined to hate on this film no matter what. The state of DC, the visuals, and not finishing the story are all valid issues of The Flash. But if you want some fun callbacks to DC of days ago and a light superhero film bolstered by the very funny Ezra Miller pulling double duty, this is still an entertaining film and actually one of the better DC installments. Flash was one of my favorite heroes growing up, and coming from that somewhat biased perspective, I left happy that this movie entertained me.