This review is spoiler free.

Robert Oppenheimer first appeared on the big screen in 1946, when he starred in the 18-minute documentary “Atomic Power” and recited the infamous quote, “Now I am become Death, the destroyer of worlds.” But given the depth and intensity of Cillian Murphy’s portrayal of the theoretical physicist, audiences might understandably mistake director Christoper Nolan’s “Oppenheimer” for the real history.

Notorious for experiments with time, reality and mind-boggling narratives, Nolan expands on his characteristic style in this fast-paced biopic and his twelfth film. The director focuses on three narratives that detail Oppenheimer’s life and career as the father of the atomic bomb and a complex figure who combines credulity with opportunism. In a race against Axis powers, the genius and charismatic scientist must balance his moral convictions with the scientific ambition to create a bomb to end the war. While an inherently explosive story, “Oppenheimer” does not pretend to be an action movie. First and foremost a character study, the film makes clear Nolan’s eagerness to delve into the psyche of a challenging and divisive personality. 

Not dominated by action-packed spectacles, “Oppenheimer” showcases tense conversation that allows a star-studded ensemble to shine. An emaciated Murphy bears a striking resemblance to Oppenheimer and brings the character’s brilliant eccentricity to life. Robert Downey Jr. embraces the role of vindictive politician Lewis Strauss, while Florence Pugh and Emily Blunt impress in their limited roles as Oppenheimer’s mistress and wife, respectively. Even Josh Peck’s hand makes a cameo, hovering over the detonation button. Nolan’s ensemble cast is impressive but distracting, with several big names appearing for only a scene or two. Audience members are often taken out of the movie by a famous face, undermining the immersive narrative Nolan hoped to create.

But the talented cast does provide a solid foundation for some of Nolan’s more radical experiments with color and sound. His film often plays with conceptuality and emphasis — scenes with abrupt bomb explosions are preceded by an entirely black-and-white narrative and eerie quiet. Dream-like sequences of ashy devastation, adultery and a Yoda-esque Albert Einstein contribute to the sometimes tedious surrealism.

While explosive, the film’s climax doesn’t come at the moment audiences might expect. As the narratives begin to overlap, it becomes clear Nolan didn’t just make a period piece about the creation of a bomb. “Oppenheimer” is a cautionary tale about the intersection of brilliance and ambition — a warning that humans can ruin themselves in the pursuit of perfection. 

Christopher Nolan’s “Oppenheimer” haunts, and much like the scientist himself, holds tight to its mystery.

4 plutonium marbles out of 5