Watched it last night at 22:00 in IMAX. Absolutely loved it, and will most likely watch it in the cinema again soon! Here's my very short review.

Caught the 10AM showing here in Michigan since I have plans for the weekend

Wow that was the most intense third act I’ve ever seen in a movie. My eyes did not leave that IMAX screen

Only negative for me 8/10 from me maybe a 9 honestly.

Devosh77 wrote: ↑

July 21st, 2023, 9:03 am

Whatever the fuck "Barbenheimer" is (in itself and culturally), what's insane is this is a big mid-summer blockbuster. Six hours after watching the movie, I still could not comprehend my experience and feelings. I didn't know he had this type of film in him. This is one of his best movies.
This late period, post-TDK trilogy filmography of his is the most interesting of his directorial career, at least to me. This feels like Nolan is at crossroads, and with bond discourse back in the mix, I hope he does not stop making these original movies, especially like Oppenheimer.
If I had to rate this, I would give it a 4.5/5

Remember that he spoke of having an incredible concept for Bond, which I’d kinda thought he might have used in “Tenet”, but now I’m not so sure.

Totally agree the original films have been fresh every time, but the one this reminded me most of in feel and emotional punch was “The Prestige” with his scientific tour of Europe similar to Jackman’s quest for Ziggy Stardust.

Wow! Nolan is back! And with most probably his most focused and adult movie, both in terms of story and approach.

Normally I'm not a fan of biopics but Nolan really managed to make this a thrilling movie and a showdown of who's who in physics of the time, which alone made it into a fascinating insight into the development of the atom bomb.

The Trinity scene is almost as thrilling as the docking scene in Interstellar, especially the lead up to it.

The music is more hypnotic than booming most of the time, it's beautiful. The editing is fantastic and it really feels like Nolan's JFK.

But it also made me think of Tar, The Master and Insider.

Great performances by Murphy, Damon and Downey and just as I thought Blunt was completely wasted here, she truly delivered in the final minutes of the movie.

I loved it and with this and Barbie delivering Barbenheimer might be the best opening weekend ever or at least since Blade Runner and The Thing in 1982.

My score is 9/10

WOW. Worth the 4 hour trip to King of Prussia. Never experienced anything like 15/70mm IMAX…gonna have to digest a little bit….9/10 for now? Jesus. My head is spinning.

I’d give up ever re-watching TDK trilogy, Inception, & Tenet for the rest of my life if it meant I had to in order to rewatch Oppenheimer. Stunned.

10/10. I can’t recall in recent memory a more stacked cast at their best.

Last hour had me mesmerized and the ending left me pinned to my seat thru the credits.

Josh Hartnett should play Superman not David Corenswet.

Casey Affleck’s character was so so good. Gary Oldman! Too many to laud here. SAG best ensemble is a LOCK.

Oliver Stone’s JFK is one of my favorite films and this stands alongside it for me.

Can’t wait to see again.

I just saw it in IMAX a few hours ago. Extremely powerful movie and nothing like Nolan had done in the past.
The first part of the film felt like a Terrence Malick film to me with the editing being ethereal and esoteric. Then it becomes a political thriller but it is riveting because of the subject matter and the way it is edited.
The Trinity test is a great sequence but I don't think it is Nolan's best. My favourite part of the film could be the post Trinity.
I think this film might not have the greatest cinematic Nolan sequence but I think it has the best acting ensemble. Everybody is so convincing and nothing feels contrived. There is also so much detail and so I'm seeing again next week.
For me it is Nolan film meets JFK meets Tree of Life meets The Social Network.

Yeah similar for me in that the suspense of the Trinity test was super intense and the visuals spellbinding, but Cillian and the cast are the actual highlight.

This was really great, I think the opening 30 minutes to an hour might be up there with the best Nolan has ever made, the editing, pacing, and story beats there are phenomenally done.
Hartnett stole a lot of his scenes IMO. I loved the subjective visions Chris played with too, what I took most from it though is Nolan didn't play much with silent victories here of any kind, mainly in the latter half.

Emotional moments were all played out with an extreme loudness in the music and an equally extreme anxiety in the cut. It gels well with Oppie's state of mind he's in, but can also get slightly tiresome and veer into a parody of itself. He has definitely stuck better landings, but at the same time, I think it might take the cake for his best film opening.

elemunt wrote: ↑

July 21st, 2023, 7:04 pm

This was really great, I think the opening 30 minutes to an hour might be up there with the best Nolan has ever made, the editing, pacing, and story beats there are phenomenally done.

The trinity test I think could've been elevated with the inclusion of the visions of matter and energy Oppie was imagining throughout the whole beginning of the movie, waveforms, particles, and the like. Post-trinity test I think the film also suffers slightly, it's well made, but story-wise I just didn't quite grapple with the sudden focus on Strauss and his whole jealousy component. It felt like a disconnect to Oppie's story and I didn't find it working quite as well or being very interesting. The whole mid-section of the movie leaves his character mostly out of the picture, so coming back to him ends up feeling estranged. I love courtroom drama, but I wish it leaned a little more into its stylings and the snappy argumentative dialogue you can get out of it instead of the side room RDJ resided in, but maybe that keeps it true to the text.

Hartnett stole a lot of his scenes IMO. I loved the subjective visions Chris played with too, what I took most from it though is Nolan didn't play much with silent victories here of any kind, mainly in the latter half.

Emotional moments were all played out with an extreme loudness in the music and an equally extreme anxiety in the cut. It gels well with Oppie's state of mind he's in, but can also get slightly tiresome and veer into a parody of itself. He has definitely stuck better landings, but at the same time, I think it might take the cake for his best film opening.

That’s a good point about the atomic visuals and overall loudness but for me it conveyed his distress very well and the sense of not being able to run away from his interior guilt/conscience. Murphy makes it all work imho.