Navigating a careful line between art-house cinema and one-liner driven Hollywood blockbuster appeal, Christopher Nolan's Oppenheimer biopic, which contextualizes the Manhattan Project as a mostly early Cold War-era military endeavor tainted by anti-communist paranoia, is highly ambitious, timely, and, in its cinematography, at times nothing short of brilliant.
Unfortunately, Oppenheimer's security hearing in front of the House Un-American Activities Committee, which makes for a compelling third act of the film, is clumsily juxtaposed with a side-plot centered on Lewis Strauss, whose portrayal as a modern villain clashes with the tone of moral ambiguity the film so desperately seeks out.
Moreover, Nolan's struggle with writing women persists, relegating historically significant characters to outdated misogynist stereotypes; becoming mere hysterical and overly emotional counterparts to the 'stoic male lead'.
(Cillian Murphy's performance was absolutely stunning though.)