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Oppenheimer (2023)
Film of the year: A biopic like no other
Christopher Nolan's latest film, a three-hour biopic on J. Robert Oppenheimer, the brains behind the atomic bomb, easily takes the crown for the best film of 2023. Every aspect of the film especially from the camera work to the storytelling, Cinematography, original score, and editing, is top-notch.
It stars Cillian Murphy as J. Robert Oppenheimer, the American theoretical physicist credited with being the "father of the atomic bomb" for his role in the Manhattan Project-the World War II undertaking that developed the first nuclear weapons. Based on the 2005 biography American Prometheus by Kai Bird and Martin J. Sherwin. The film also stars Emily Blunt as Oppenheimer's wife "Kitty", Matt Damon as head of the Manhattan Project Leslie Groves, Robert Downey Jr. As U. S. Atomic Energy Commission member Lewis Strauss, and Florence Pugh as Oppenheimer's communist lover Jean Tatlock. The ensemble supporting cast includes Josh Hartnett, Casey Affleck, Rami Malek, Gary Oldman and Kenneth Branagh.
Nolan's trademark non-linear storytelling shines through in Oppenheimer's narrative, giving the biopic a unique touch. Unlike typical biographies, we don't get to see Oppenheimer's childhood or growth years. Instead, the film zeroes in on the interesting parts of his life, especially when he was making waves in the world of physicists and the tension brought to the world by Oppenheimer and the Los Alamos team during the development of the atomic bomb which is portrayed with gripping intensity.
My favourite scene from the film, which fits perfectly, is the well acted scene between President Harry S. Truman (played by the great Gary Oldman) and Oppenheimer in the White House, marking a turning point in the film. Here the film takes a deep breath and break from the intense scenes of the trinity tests and the shortly the aftermath of dropping the bomb. This scene includes dark humour with quotes such as "Don't let that crybaby back in here" and Trumans response to Oppenheimer telling him "I feel that I have blood on my hands", based on the real meeting between the two.
As mentioned before, Oppenheimer is really well done. Everything, from the camera work, music, cinematography, editing and more, is top-notch. The film is a masterpiece, and there's not much to criticize. Maybe some of the first scenes with Oppenheimer and Jean Tatlock felt a bit awkward without any real passion, but apart from that, it's all good
Rating: 9.5/10.
Killers of the Flower Moon (2023)
A Disappointing Bloom
Director Martin Scorsese's much-anticipated film, "Killers of the Flower Moon," falls short of the high expectations set by his previous masterpieces. Despite the star-studded cast, breathtaking cinematography, and a compelling historical backdrop, the film ultimately disappoints, leaving me with a sense of dissatisfaction.
The story delves into the conspiracy surrounding the murders, which involved the newly discovered oil wealth of the Osage Nation. The FBI, led by J. Edgar Hoover, investigates the crimes.
Dicaprio plays the lead as Ernest Burkhart, following with Lily Gladstone playing Mollie Burkhart and Robert De Niro playing William Hale, the great cast goes on. In spite of this great cast, their performances disappoints. The characters lack the depth and development needed to evoke genuine empathy or interest. Leonardo DiCaprio and Robert De Niro, while undeniably skilled actors, seem constrained by the underdeveloped script, leaving their performances feeling somewhat flat, repetitive and unremarkable.
Moreover, the film struggles with its tone, wavering between a historical drama and a crime thriller without fully committing to either genre. The result is a narrative that feels inconsistent and indecisive.
While the cinematography is undeniably stunning, with sweeping shots of the Oklahoma landscape, it often feels like a distraction rather than an enhancement to the storytelling. The visual grandeur sometimes overshadows the narrative, leading to a lack of cohesion between the film's aesthetic and its substance.
The biggest problem with the film is the lack of tension, De Niro is way too old for his part, his slow movement and powerless/repetitive acting ruins every opportunity to create tension between him and other characters. The characters are supposed to be "scared" of De Niro, but the film fails to show us that. Dicaprio is also too old for his character Ernest. William hale was in his 50s during the 1920's and Ernest I believe was in his late 20's.
In conclusion, "Killers of the Flower Moon" is a disappointment from a director of Scorsese's caliber. The film's inability to find a consistent pace, streamline its intricate narrative, and develop compelling characters ultimately hinders its potential. While the visuals may be captivating, they cannot compensate for the film's overall lack of coherence and emotional resonance. It doesn't deserve a runtime of 3 hours 26 min.
Rating: 7/10.
Barry Lyndon (1975)
Barry Lyndon: Timeless Beauty
In the realm of cinema, where visuals often vie for supremacy, Stanley Kubrick's "Barry Lyndon" stands as a testament to the unparalleled marriage of storytelling and visual artistry. Released in 1975, this period drama has not only endured the test of time but has solidified its place as the epitome of visual splendor. The film story is adapted from the book "The Luck of Barry Lyndon", written by the 19th century author, William Makepeace Thackeray, Published in 1844.
The films narrative is divided into two parts and follows the life of Redmond Barry:
Redmond Barry an Irishman, played by the american actor with an irish name, Ryan O'Neal, who transforms into Barry Lyndon, rising from a rural background to European aristocracy. The film explores his experiences in love, betrayal, and social climbing in 18th-century Europe. It portrays Barry's journey through the Seven Years' War, his success as a war hero, con man and as a wealthy man.
Cinematographer John Alcott, who was a frequent collaborator with Kubrick, masterfully employs natural light in a way that transcends mere technical achievement. The film's iconic candle-lit scenes, shot with specially modified lenses, capture the essence of 18th-century Europe with a painterly finesse. Each frame is a living tableau, a meticulously composed work of art that pays homage to the great painters of the period. Kubrick's decision to utilize the groundbreaking Mitchell BNC camera, initially developed for NASA, allowed for unprecedented flexibility in capturing scenes in natural light. The resulting visuals are nothing short of breathtaking, with landscapes bathed in a soft, diffused glow that lends an almost dreamlike quality to the film. Every exterior shot becomes a living landscape painting, a testament to Kubrick's meticulous attention to detail. Stanley Kubrick's direction is characterized by his trademark precision and control. The deliberate pacing of the film allows for the exploration of complex characters and themes. The performances in "Barry Lyndon" are noteworthy, with Ryan O'Neal delivering a nuanced portrayal of the protagonist. The cast, including supporting actors such as Marisa Berenson and Patrick Magee, contributes to the film's overall authenticity and emotional resonance.
The film's commitment to authenticity extends to its costumes (designed by the master costume designers Ulla-Britt Söderlund and Milena Canonero), locations, and even its use of classical music. The soundtrack, featuring masterpieces by Handel and Schubert, serves as a sublime accompaniment to the unfolding narrative, enhancing the emotional impact of each scene (each painting). The incredible track from Barry Lyndon "Sarabande" composed by George Frideric Handel and performed by "National Philharmonic Orchestra" perfectly fits to describe the story of Barry musically.
Kubrick shows yet again just how important the craft in film is and why you should strive for perfection in your work. "Barry Lyndon" is Kubrick's greatest work besides his 1968 film, 2001: A Space Odyssey, Which I consider to be the greatest achievement in cinematic history. The three hour running time in "Barry Lyndon" is necessary and is nothing to complain about, I found every hour of the film to be very entertaining, which is something a lot of people will criticise about this film, a lack of entertainment, but I felt very drawn in to the world Kubrick had adapted from the book. This is best presented by the late critic for "Chicago Sun Times" Roger Ebert in his review of the film: "Some people find "Barry Lyndon" a fascinating, if cold, exercise in masterful filmmaking; others find it a terrific bore. I have little sympathy for the second opinion; how can anyone be bored by such an audacious film? "Barry Lyndon" isn't a great entertainment in the usual way, but it's a great example of directorial vision: Kubrick saying he's going to make this material function as an illustration of the way he sees the world".
I consider "Barry Lyndon" to be the 4th greatest film of all time, and the most beautiful film ever made.
Rating: 10/10.