The following will sound like a slight, but rest assured it’s more of an appreciation of the depth of Christopher Nolan’s catalog. He’s a talent unlike any other.
Two things can be true. Oppenheimer is Nolan’s crowning achievement over 25 years of filmmaking. Oppenheimer is also Nolan’s fourth-best movie.
After over two decades of being underappreciated by the Academy of Motion Picture Arts and Sciences, Nolan will likely dominate this Sunday’s Academy Awards. Oppenheimer is nominated for 13 Oscars and is favored to win six, including Best Picture and Best Director.
Before this year, Nolan had only received two Best Picture nominations (Inception and Dunkirk) and one Best Director nomination (Dunkirk), which is staggering. Nolan is one of the few filmmakers who consistently creates critically acclaimed original work that brings people to the theatres. He’s invaluable in a society that prefers to stay at home. Nolan’s films are must-see events to be shared with a large audience because he specializes in big movies about big ideas.
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The general public has known this for a long time, but the Academy has been slow to catch on. Nolan was recognized as a technician rather than an auteur, and that’s unfortunate. As spectacular as Oppenheimer is, most Nolan fanboys could name three superior movies. Now, there will be general disagreement on which films and the order. But in one man’s opinion, Memento, The Prestige, and The Dark Knight are better than Oppenheimer.
Memento introduced the world to Nolan with a unique story and is the best modern film noir ever made. The Prestige featured top-notch acting from Hugh Jackman and Christian Bale, and one of cinematic history’s most shocking plot twists. The Dark Knight elevated what we all thought a superhero movie could be. For those reasons, as well as others, Oppenheimer doesn’t quite reach those levels. However, it’s the kind of movie that the Academy can fully embrace—a historical drama based on a biography with mass appeal told in a way that is accessible to mainstream viewers.
Oppenheimer‘s biggest triumph is that it became a pop culture phenomenon too big for the Academy to ignore. Barbenheimer was a thing that happened; people flocked to the theatre to view a double feature of Barbie and Oppenheimer. In a post-pandemic world, this was critical. If Top Gun: Maverick saved Hollywood in 2022, Barbenheimer kept the momentum going. Barbie was the top-grossing movie worldwide in 2023. Oppenheimer was No. 3 overall. These films were such forces of nature that the Academy had to recognize them with Best Picture nominations.
So, Nolan has his best chance to get all the plaudits he deserves. (Greta Gerwig was obviously robbed of Best Director, but that’s a column for another time). This won’t be a makeup award for previous snubs. Oppenheimer can stand on its own merits. No other director could create such an extraordinary feature about the father of the atomic bomb. The Manhattan Project was a singular moment with ripple effects that continue today.
Oppenheimer is the most important film of Nolan’s career, even if it’s not his best film. His vision was helped by an all-star cast that includes Oscar nominees Cillian Murphy, Robert Downey Jr., and Emily Blunt.
That’s remarkable. And that is worthy of the industry’s highest award—even if that recognition is overdue.
