Opiniões dos críticos

[Oppenheimer] is constructed in a way that allows its audience to comprehend, on an intellectual level, the profound power and chaos that led its central character to see himself as the “Death, destroyer of worlds” of Hindu scripture. I’m not sure, however, that it burrows deeper than that – into that profound, emotional space that can be both overwhelming and difficult to verbalise.

Murphy gives the performance of his life, imbuing Oppenheimer’s body with an enthralling nervous eroticism and his voice with a noirish musicality that reminds you of Bogart. The film manages to make subatomic theory coolly sexy... [and] the director’s dialogue is strikingly elegant and crisp, giving us the measure of characters within single lines.

By making [the film's] story so beautiful, so elegantly crafted and compulsively watchable, he has brought to life not just J. Robert Oppenheimer, but the still-crucial arguments he both started and tried to end. “Oppenheimer” boldly posits that those arguments are still worth having, in a film of magnitude, profundity and dazzling artistry.

But either despite its intense craft or because of it, Oppenheimer works... Nolan blurs the distinction between grandeur and grandiosity. Both his subject and his lead actor can stand up to the outsize scale of his approach, so why shouldn’t he go for broke?

Nolan remains the consummate Hollywood theorist and practitioner, someone who realizes his grandiose conceptual ambitions with a stubbornly hands-on, ground-level command of cinematic craft... [Oppenheimer] is an extraordinarily gripping and resonant movie.

Oppenheimer is a brainy, brawny thriller... more slow-burn than explosive... This is a big, ballsy, serious-minded cinematic event of a type now virtually extinct from the studios. It fully embraces the contradictions of an intellectual giant who was also a deeply flawed man, his legacy complicated by his own ambivalence toward the breakthrough achievement that secured his place in the history books.

"Oppenheimer" could retrospectively seem like a turning point in [Nolan's] filmography, when he takes all of the stylistic and technical practices that he'd been honing for the previous twenty years in intellectualized pulp blockbusters and turns them inward, using them to explore the innermost recesses of the mind and heart.

A masterfully constructed character study from a great director operating on a whole new level. [Oppenheimer is] a film that you don’t merely watch, but must reckon with.

Nolan atomises any expectation of what a blockbuster can or should be... Oppenheimer is paced like a chain reaction, each one of his and cinematographer Hoyte van Hoytema’s immaculately-lit compositions cascading into the next, building to an immensely satisfying crescendo and leaving you shaken to the core.

[This] is a talky biopic with the intensity of an action movie... Although the visual scale is smaller than the many widescreen epics Nolan has made—save for the part where the bomb goes off—Oppenheimer might be his most ambitious work as a filmmaker to date.

“Oppenheimer” lands with nothing short of the mighty impact suggested by its legendary stature. But Nolan is less interested in reifying myths so much as he’s invested in rectifying them. His central character’s morass of abandoned principles and apocalyptic prophecies takes a sledgehammer to the “Great Man” biopic formula.

[Oppenheimer] is not a faultless film, but it’s one that sits within the higher echelons of the oft-tawdry biopic form, and also reveals hidden depths to the Nolan project and, excitingly, suggests that we should brace ourselves for anything the next time around.