“Now I am become Death, the Destroyer of Worlds“
The words, spoken by the god Vishnu in the Sanskrit text Bhagavad-Gita, are famously attributed to J. Robert Oppenheimer, the “father” of the atomic bomb, who was proficient in the language. While the quote’s actual context revolves around the illusion of life and death, its association with Oppenheimer is undeniable. Christopher Nolan‘s latest film, Oppenheimer, is an ambitious undertaking, showcasing old-school filmmaking techniques and a star-studded cast.
Even during his college years, J. Robert Oppenheimer (Cillian Murphy) distinguishes himself from his peers in physics. His deep fascination with the work of Niels Bohr (Kenneth Branagh) and Heisenberg (Matthias Schweighöfer) is evident. Soon, he is tasked with translating their theoretical work into a devastating new weapon for the United States. The journey is complex, fraught with communist allegations, internal rivalries between researchers and nations, and the challenges of his marriage to Kitty (Emily Blunt), who struggles with alcoholism. Largely based on the book American Prometheus, the film adheres closely to historical facts, though liberties are taken for dramatic effect, such as the fictionalized meeting between Oppenheimer and Einstein.
Nolan’s return to form is evident in this “straight” blockbuster, reminiscent of his earlier Batman films rather than the more conceptually intricate works of recent years. While Tenet presented an intriguing premise, its core concept faltered due to internal inconsistencies. Oppenheimer, while perhaps not as visually extravagant or intellectually demanding as Inception or Interstellar, benefits from a more coherent narrative and tighter editing than Dunkirk. The film allows for emotional resonance, with Cillian Murphy’s compelling portrayal serving as its anchor, delivering a performance that feels authentic rather than calculated for awards recognition. Nolan’s mastery of the epic scale is unparalleled, enhanced by Hoyte van Hoytema‘s exceptional cinematography and Ludwig Göransson‘s evocative score.
Beyond Murphy’s stellar performance, Robert Downey Jr. delivers a noteworthy performance as Lewis Strauss, the figure who brought Oppenheimer into the atomic project. Florence Pugh also shines in her role as Jean Tatlock, Oppenheimer’s mistress. The supporting cast is replete with talent, including Gary Oldman, Matt Damon, Tony Goldwyn, Josh Hartnett, Jason Clarke, Rami Malek, and even David Strathairn, whose understated performance recalls his work in Goodnight and Good Luck. The depth of talent reflects the scale and ambition of a Christopher Nolan production.
Nolan has expressed reservations regarding modern formats like Dolby Vision (HDR) and Atmos, potentially influenced by his close collaboration with IMAX. A staunch advocate for physical media, he champions ownership to safeguard films from the potential pitfalls of streaming services, which are subject to content removal or alteration. Consequently, the UHD 4K edition of Oppenheimer features HDR10 and DTS-HD Master Audio in 5.1, rather than Dolby Vision. Consistent with Nolan’s preference for IMAX, the physical release retains the variable aspect ratio (2.20:1 and 1.78:1) present in the theatrical presentation. On a 65″ reference OLED display, the shifting aspect ratio proved seamless. As Zack Snyder noted with Justice League, the IMAX sequences offer increased vertical image information, albeit at the perceived expense of horizontal cropping. Hoyte’s cinematography is beautifully realized, with nuanced colors and expertly applied film grain, while the black and white sequences exhibit remarkable intensity. While not as visually vibrant as Avatar 2, the image quality is undeniably masterful. The Full HD Blu-ray, while competent, pales in comparison to the 4K edition, which offers a superior viewing experience, particularly when presented on a large display.
For viewers who prefer a consistent aspect ratio, Apple’s digital version of the film is presented in a locked 2.20:1 format. However, given the filmmaker’s intended presentation and the value of owning a physical copy of a film of this caliber, the UHD 4K edition remains the preferred choice.
The DTS HD MA 5.1 audio track is commendable. Although Oppenheimer is primarily dialogue-driven, the sound design excels during key sequences. The dialogue levels, however, may require adjustment for optimal clarity in a typical home theater setup. The explosions are rendered with impactful bass, and the environmental and directional audio cues are precise. Nevertheless, one can speculate on the potential impact of a more immersive audio format, such as Atmos, DTS:X, or Auro 3D, on Nolan’s sound design.
The physical release boasts over three hours of supplemental material, including an in-depth behind-the-scenes documentary where Nolan guides viewers through the filmmaking process, with insights from producer Emma Thomas, cinematographer Hoyte van Hoytema, the cast, and other key personnel. This comprehensive featurette offers a valuable glimpse into modern filmmaking techniques. Additional trailers, IMAX features, and shorter featurettes further enhance the overall value of the edition.
Oppenheimer is a cinematic experience best enjoyed in a dedicated home theater. Nolan’s script is nuanced and affecting, complemented by outstanding performances from Murphy and Downey Jr. The dedication poured into the film’s production is palpable. The film’s unlikely juxtaposition and “competition” with Barbie highlights the current state of the film industry. This is a lengthy film demanding focused attention, but rewarding viewers with a cinematic journey worth owning and revisiting on UHD 4K. Universal and SF Studios have delivered a top-tier edition of what is potentially the year’s best film.
SF Studios provided review copies for this evaluation. The providers of materials have no editorial influence over our assessments. We maintain our independence, prioritizing our readers and consumers.
