‘Predator: Badlands’ has started in impressive fashion at the box office.
It has earned more than $80 million globally.
Other movies didn’t fare as well.
Looks like audiences were more than ready to get back on the hunt.
‘Predator: Badlands,’ the newest movie featuring the titular alien creatures, soared to the top of the box office this past weekend, earning a healthy $40 million at the box office.
o6vQXKWvq6T8UYAzN0mSj1
The movie, which was budgeted at $105 million (not counting advertising costs), is the most successful launch for the ‘Predator’ franchise, overtaking the previous record holder, 2004’s franchise crossover ‘Alien vs. Predator.’
It’s the latest success in the series for co-writer/director Dan Trachtenberg, who previously made the likes of ‘Prey’ and the animated ‘Predator: Killer of Killers,’ both of which were well received but were released via Hulu.
The new ‘Predator’ outing was just as successful outside the States, earning another $40 million for an $80 million global opening. That’s a great start, and points to it reaching profitability.
Here’s Comscore’s Paul Dergarabedian on the movie’s success:
“ ‘Predator: Badlands’ shows how unpredictable and dynamic the marketplace can be. All it takes is one over-performance to get the industry back on track. This is a great lead in for what promises to be one of the better months of November for the industry.”
What else happened at the box office this weekend?
(L to R) Jennifer Lawrence and Robert Pattinson in ‘Die My Love’. Photo: Kimberley French/Mubi.
Unfortunately for the box office prospects, ‘Badlands’ was one of the few movies to make much of an impact this week, the rest of the new arrivals limited to less wide releases and awards contenders.
Faith-based entry ‘Sarah’s Oil’ fared best, opening in fourth place with $4.5 million. ‘Nuremberg’, a drama about the historic post-World War II trials, did solid business, landing fifth with $4.1 million, though given its higher-profile and starry cast (Russell Crowe and Rami Malek among them) it likely hoped for more.
Still, stars really couldn’t save Lynne Ramsay’s latest, psychodrama ‘Die My Love.’ Despite Jennifer Lawrence and Robert Pattinson in the lead roles, the story of post-partum depression and dysfunction tanked with audiences, earning $2.8 million for eighth.
And that’s still better than the Sydney Sweeney-starring boxing biopic ‘Christy’, which couldn’t even crack the top 10, stumbling to 11th with $1.3 million. It’s the latest flop opening for the actor and could well lead to chatter that her rising star status is under serious threat (at least for now).
Sydney Sweeney in ‘Christy’. Photo: Black Bear Pictures.
(L to R) Rami Malek as Lt. Col. Douglas Kelley, Russell Crowe as Hermann Göring in ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
Russell Crowe as Hermann Göring in ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
The Nuremberg trials were a major turning point in world history: they not only exposed the atrocities of the Nazi regime to the world on a large scale, but they laid down the foundations for what would become international law and the concept of crimes against humanity itself.
The saga of how the trials came together – a mammoth effort that involved the cooperation of the four main Allied nations – and their complex ethical and moral implications (and failings) is certainly ripe material for filming, as 1961’s ‘Judgment at Nuremberg’ so ably proved. James Vanderbilt’s ‘Nuremberg’ has moments where it approaches greatness – and one spectacularly unsettling performance at its core from Russell Crowe – but the director-writer often focuses on the wrong subject or goes off on tangents that lessen the film’s power.
Story and Direction
(L to R) Leo Woodall and James Vanderbilt on the set of ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
As World War II ends, one of the chief architects of the Third Reich and its campaign of genocide against the Jews, Hermann Göring (Crowe), turns himself in to the Allied forces. A number of other Nazi officials are captured as well. While Supreme Court Associate Justice Robert H. Jackson (Shannon) prepares the groundwork for what will be an unprecedented international tribunal, psychiatrist Douglas Kelley is tasked with analyzing the mental state of the men who will stand trial – particularly the slippery, effortlessly charming Göring.
At two and a half hours in length, ‘Nuremberg’ feels like its reaching for epic status. But it also feels like a truncated version of what might have been a longer limited series, with Vanderbilt cramming so many aspects of the story into his film that it’s hard for any of them to stand out. That makes his decision to focus on Kelley’s relationship with Göring even more puzzling (even though the film is based in part on a biography of Kelley).
Despite Crowe’s excellent work as portraying Göring as a suave, sophisticated, and even witty sparring partner, the exchanges between him and Kelley never come to life, playing instead like an enervated version of Clarice-vs-Lecter from ‘The Silence of the Lambs.’ Göring plays with Kelley, gaining his friendship, but all their repartee in the end feels pointless. Kelley (whose own life came to a grim end in 1958, after his report on the Nazis he studied at Nuremberg was largely dismissed) also strikes up a relationship of sorts (platonic) with Göring’s wife, another unnecessary (and, frankly, rather queasy) side road that the film takes while the most compelling part of the narrative – Jackson’s buildup to the trial and the moment he almost lost it – is frequently left in the background.
Russell Crowe as Hermann Göring in ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
Despite a number of absorbing moments and heroic work by Crowe, Shannon, John Slattery, and Leo Woodall (Malek’s Kelley, unfortunately, is simply a cipher), Vanderbilt tries to do too much. Scenes in which the other Nazi officers are interrogated or treated by Kelley and the German Jewish soldier Howie Triest (Woodall) barely make an impact because of the film’s ‘this-happened-and-then-happened’ structure. The most powerful moment, of course, is when film taken by Allied soldiers from inside the liberated Nazi concentration camps is unspooled during the trial – nothing can ever lessen the impact of that (and people should be reminded of it now more than ever).
This is a beautifully mounted production – from the sets to the costumes to the insignia on both Nazi and Allied uniforms, this is finely detailed technical filmmaking that immediately brings one back to this period of history. But Vanderbilt – whose only other directorial effort was 2015’s ‘Truth’ – seems overwhelmed by the material, and handles it in a pedestrian way that dilutes its full impact.
Cast and Performances
Michael Shannon as Robert H. Jackson in ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
Russell Crowe’s career trajectory has been so strange in recent years, as he’s chomped the scenery and flaunted extreme accents in films ranging from ‘Thor: Love and Thunder’ to ‘The Pope’s Exorcist’ to ‘Kraven the Hunter,’ that watching his restrained, charismatic, and utterly chilling performance as Hermann Göring makes you remember just what a powerful actor he can be. His work here is the single best aspect of the movie and riveting throughout.
Just as strong is national treasure Michael Shannon, who brings gravity, eloquence, and humanity to the deeply flawed Robert H. Jackson, and some of the best supporting work comes from dependable scene-stealers Richard E. Grant and John Slattery. As for Rami Malek – who seems to have a hard time finding the right roles lately – he’s good to some extent, but uneven in certain moments and not given enough to make the part of Kelley a truly distinctive character.
Final Thoughts
(L to R) Richard E. Grant as Sir David Maxwell-Fyfe, Michael Shannon as Robert H. Jackson, Rami Malek as Lt. Col. Douglas Kelley in ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
‘Nuremberg’ has the patina of a certain kind of film that would dominate both awards season and critical discussion had it come out perhaps 10 or 15 years earlier. It’s handsomely mounted and James Vanderbilt seems to want to give it the sweep of a true historical epic. Its haunting coda also reminds us that the horrors perpetrated by the Nazi regime remain relevant – perhaps increasingly so – today. But so much time is spent on peripheral matters that the story only comes into focus part of the time. But when it does, it’s powerful stuff.
‘Nuremberg’ receives a score of 65 out of 100.
Russell Crowe as Hermann Göring in ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
What is the plot of ‘Nuremberg’?
The Allies, led by chief prosecutor Robert H. Jackson (Michael Shannon), have the task of ensuring the Nazi regime answers for the horrors of the Holocaust — while a U.S. Army psychiatrist (Rami Malek) is locked in a dramatic psychological duel with former Reichsmarschall Hermann Göring (Russell Crowe).
Moviefone recently had the pleasure of speaking with Michael Shannon and John Slattery about their work on ‘Nuremberg’, Slattery’s first reaction to the screenplay and collaborating with director James Vanderbilt on set, as well as Shannon’s approach to his character and working with Rami Malek.
(L to R) Michael Shannon and John Slattery star in ‘Nuremberg’.
You can read the full interview below or click on the video player above to watch our interviews.
(L to R) Rami Malek as Lt. Col. Douglas Kelley, Colin Hanks as Dr. Gustave Gilbert, John Slattery as Col. Burton C. Andrus in ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
Moviefone: To begin with, John, can you talk about your first reaction to the screenplay and the importance of telling this story?
John Slattery: My first reaction was I don’t think I’m the man to play this part. I thought, I don’t have it in me. I said to James, “If you want what’s on the page, then you probably should find someone else because how am I going to run that room and preside over that group?” He convinced me to do it my own way, or we’d figure out a way to do it. That’s coupled with, of course, wanting to be in it and wanting to be a part of such a great story. So, I was daunted by the challenge of it, but certainly wanted to be a part of it. I think Michael, Rami and Russell were already set. So, who wouldn’t want to be a part of that group?
MF: Michael, can you talk about your approach to playing Robert H. Jackson, the pressure on him to win this trial and what’s at stake if he doesn’t?
Michael Shannon: Well, I just did a lot of research. I didn’t know much about Robert Jackson, or hardly anything really, going into it, so I had a lot to learn. Obviously, you know, he kind of brings this all upon himself because the trials are his idea. A lot of people in the American government thought if we caught Nazis, we should just execute them, and he went out of his way to establish this tribunal and so he reaped what he sowed to that extent. But thank God he did it because it was a brilliant idea, and he was right. But he sacrificed a bit of his own professional trajectory to accomplish it. I wish what he had set in motion was as strong now as what he established back then.
Michael Shannon as Robert H. Jackson in ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
MF: Michael, can you also talk about Jackson’s working relationship with Douglas Kelly as it’s depicted in the film and creating that relationship on screen with Rami Malek?
MS: Well, I’m so charmed by Rami all the time. I mean, he’s so alive. He’s so much fun to work with, even in in a story and situation like this. You know, in the book, ‘The Nazi and the Psychiatrist’, which the film is based on, you don’t really see too much interplay between Jackson and Kelly. It really focuses on his time with the Nazis in the prison, but I really love doing that scene in the stadium where I lay out to him why what we’re doing is so important. I’m glad it’s in the story and I loved shooting that with him because he was such an amazing listener to play off. Anytime you have a speech like that, you hope whoever you’re saying it to is listening to what you’re saying, and he was always. Yeah, I love him.
MF: Finally, John, what was it like collaborating with writer and director James Vanderbilt on set and helping him to execute his vision for this project?
JS: I mean, you couldn’t find a more enthusiastic leader who fortunately had written the script, so we had a resource and wealth of ideas. He was collaborative, excited, tireless and funny, and I couldn’t have had a better experience from the moment I met him till now. He was willing to try things. He was willing to adjust and to accommodate. This cast has very different energies between Russell, Rami, Michael, Richard Grant, Leo (Woodall) and me. There’s a lot of different methods of working and he accommodated all of them, at least speaking for myself. I couldn’t have had a more willing partner.
(L to R) Leo Woodall and James Vanderbilt on the set of ‘Nuremberg’. Photo: Scott Garfield. Courtesy of Sony Pictures Classics.
What is the plot of ‘Nuremberg’?
During the Nuremberg trials, chief psychiatrist Douglas Kelley (Rami Malek) interviews Nazi military members to determine whether they are fit to stand trial. There, he enters a “battle of wits” against Adolf Hitler’s right-hand man, Hermann Göring (Russell Crowe).
It’s something that a lot of moviegoers of a certain age all say they want: an adult, intelligent, dramatic thriller, perhaps based on a novel but not adapted from already heavily exploited IP, comic books, toys, or video games. For a little while, ‘The Amateur’ seems to check that box. Based on a novel by Robert Littell (which was filmed previously in 1981 as a Canadian production starring John Savage), directed by James Hawes (who’s got episodes of ‘Doctor Who,’ ‘Black Mirror,’ ‘Snowpiercer,’ and ‘Slow Horses’ under his belt), and featuring an admirable cast of seasoned, reliable actors, ‘The Amateur’ seems almost like a throwback to a different era of filmmaking.
In the end, however, it doesn’t quite live up to its potential. With a largely TV background, Hawes directs the film in almost leisurely, episodic fashion, giving it a stop-and-start pace that never really builds in tension. And too many of the characters – including the lead – are either underused or underdeveloped, leaving the feeling that there’s a longer film – or perhaps, yes, a TV show – somewhere on the cutting room floor.
Rami Malek plays Charlie Heller, an extremely introverted CIA cryptographer whose wife Sarah (Rachel Brosnahan) has to fly off to London for some kind of conference (we don’t really know what she does). But it’s only a couple of days before Charlie is pulled into the office of Deputy CIA Director Moore (Holt McCallany) and informed that Sarah has been killed in a brutal terrorist attack.
A stunned Charlie wants the CIA to retaliate, but when Moore and another superior, Caleb (Danny Sapani), drag their feet, Charlie does some digging – that’s his job – and discovers that Moore has been running a number of unauthorized black ops, some of them against our own allies and involving members of the same terrorist group. So he extorts Moore and Caleb instead: he’ll reveal everything about their operations to the public and the press – unless they give him enough training to go hunt down his wife’s murderers himself.
Forcing their hand for the moment (“What else do you want?” asks a disbelieving Moore. “An Aston-Martin? A jet-pack?”), Charlie comes under the tutelage of master assassin Henderson (Laurence Fishburne). He quickly learns that he can’t shoot worth s**t, but he can build a mean explosive and hack his way into any surveillance or computer system, both of which come in handy when he escapes and heads for Europe after getting wind that Moore plans to have Henderson kill him.
Once overseas, Charlie begins tracking down the people responsible for his wife’s murder, tormenting them in cleverly sadistic ways: in Paris, the sole woman in the group (Barbara Probst) is locked in an isolation booth at an allergy clinic and choked on pumped-in pollen, before she and Charlie engage in a vicious fight that doesn’t end well; later in Madrid, one of the terrorists meets a watery end when Charlie blows up the high-rise glass swimming pool he’s in (which you’ve seen in the trailer about 400 times by now). But as the CIA closes in, Charlie asks for help from “Inquiline” (Caitriona Balfe), an informant he’s been speaking with for years who helps point him in the direction of mastermind Horst Schiller (Michael Stuhlbarg).
James Hawes directs all this in an almost casual fashion, with the occasional shocking bursts of violence (many played in enclosed spaces) frequently followed up by dialogue scenes that dial the energy back down. “How will you fill the silence?” Inquiline asks Charlie at one point, after revealing that she lost a loved one and missed all his sounds around their home. Charlie’s response is to fill it with noise, screams, explosions, and drinks – a sly nod, perhaps, to the much more haunted James Bond of Ian Fleming’s novels than the film franchise. In a way, ‘The Amateur’ is an anti-Bond film: none of this is glamorous, jet-setting or particularly exotic, and Charlie increasingly loses more of his humanity as he pursues his goal.
Unfortunately, these interesting ideas aren’t given more than lip service. ‘The Amateur’ never delves too deeply below the surface, and its 10 screenwriters (only two are credited) fall back on only superficial and predictable thriller tropes. The villain even rolls out a version of the old “we’re not that different” chestnut toward the film’s end, an indication that despite an attempt at a more thoughtful approach, ‘The Amateur’ is slickly professional and nothing more.
The cast here is great on paper, but despite working hard a lot of them end up shortchanged. Malek is front and center for most of the two hours, but while this Oscar-winning actor has charisma and presence, his retiring performance as Charlie Heller is both nuanced and self-defeating. We want to believe Charlie’s turn from reserved, intensely non-verbal analyst to cold-blooded killer, but the lack of a fully defined character and even some background (does Charlie have parents? Does his dead wife? Is he possibly on the spectrum?) doesn’t put enough texture on Charlie’s character to make him fully come alive.
The same could be said of much of the rest of the ensemble. Laurence Fishburne probably comes off best and gives us the sense of a more complex soul underneath his tough exterior, but he only shows up sporadically. Rachel Brosnahan’s presence as Charlie’s wife is as ghostly as the flashbacks she’s in. Holt McCallany (so good in ‘The Iron Claw’) might as well have a big ‘VILLAIN’ sign stamped across his forehead, while Michael Stuhlbarg goes for the restrained, cultured heavy in his five or so minutes on screen. But the shortest end of the stick is handed to Jon Bernthal as a CIA spook who turns up in exactly two scenes, neither of which have any real point to them at all. We have to believe a lot of his material got the chop – why would you hire Jon Bernthal and give him nothing to do?
Final Thoughts
Rami Malek in ‘The Amateur’. Photo: 20th Century Studios.
Its initially restrained pacing and low-key atmosphere had us on board with ‘The Amateur’ at first, but Malek’s performance and the film itself never quite catch fire. Too many red herrings – like the completely bizarre reappearance of Bernthal late in the film – also diffuse any rising sense of danger or confrontation.
‘The Amateur’ does have its moments: the fight scenes provide a jolt of whiplash, violent oomph, and Charlie’s inventive traps for his targets are the thriller equivalents of something out of a ‘Saw’ film. While ‘The Amateur’ does provide a certain level of entertainment for a more grown-up audience, it may not be enough to get them to a movie theater – which is exactly where we need more of this stuff.
CRr1il42r35lBPrjswxVt6
What is the plot of ‘The Amateur’?
A quiet CIA cryptographer (Rami Malek) is driven by grief and vengeance to seek out the terrorists who killed his wife (Rachel Brosnahan), but soon finds himself pursued by his own agency instead.
Who is in the cast of ‘The Amateur’?
Rami Malek as Charles Heller
Laurence Fishburne as Robert Henderson
Rachel Brosnahan as Sarah
Caitríona Balfe as Inquiline
Jon Bernthal as The Bear
Michael Stuhlbarg as Horst Schiller
Holt McCallany as CIA Deputy Director Alex Moore
Danny Sapani as Caleb
Julianne Nicholson as CIA Director Samantha O’Brien
(L to R) Cillian Murphy (as J. Robert Oppenheimer) and writer, director, and producer Christopher Nolan on the set of ‘Oppenheimer.’
Christopher Nolan’s historical biopic was not only a box-office powerhouse but also delivered compelling performances and stunning visuals.
The film chronics J. Robert Oppenheimer‘s career from the beginning of his studies to his role in the Manhattan Project to the 1954 security hearing. The film used color to differentiate between Oppenheimer’s point of view and Lewis Strauss’ point of view – with color representing Oppenheimer and black and white for Strauss. The difference in color also depicts their personality, where Oppenheimer sees the world in bright colors, while Strauss sees it in black and white.
1tOJVQRXmFcGn2lZ7Th6l7
The official synopsis for ‘Oppenheimer’ is below:
“During World War II, Lt. Gen. Leslie Groves Jr. appoints physicist J. Robert Oppenheimer to work on the top-secret Manhattan Project. Oppenheimer and a team of scientists spend years developing and designing the atomic bomb. Their work comes to fruition on July 16, 1945, as they witness the world’s first nuclear explosion, forever changing the course of history.”
Who Is In The Cast of ‘Oppenheimer’?
Robert Downey Jr is Lewis Strauss in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
Cillian Murphy is J. Robert Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
The film did not use any CGI or VFX to recreate the Trinity Test blast. As we saw with Nolan’s 2020 film ‘Tenet’, the director has always had a knack for creating realistic and explosive moments on film with practical effects. To recreate the atomic bomb detonation, Nolan worked with cinematographer Hoyte Van Hoytema to capture the explosion on film.
Working closely with special effects supervisor Scott Fisher and visual effects supervisor Andrew Jackson, they first ran tests by dropping silver particles in an aquarium.
“We built aquariums with powers in it. We dropped silver particles in it. We had molded metallic balloons which were lit up from the inside. We had things slamming and smashing into one another, such as ping-pong balls, or just had objects spinning,” said Van Hoytema.
The explosion was captured in in close-up at variable frame rates, combined with Van Joytema’s IMAX cinematography which filled the screen with an image that is both beautiful and deadly. When this moment is played in the theaters, the film goes silent as the detonation flashes before the deafening blast shakes and resonates in everyone’s core.
(L to R) Tom Conti is Albert Einstein and Cillian Murphy is J. Robert Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
‘Oppenheimer’ held its world premiere on July 11, 2023, at Le Grand Rex in Paris. The film was released domestically on July 21 in formats such as IMAX 70mm, stand 70mm, and 35mm. The film was released simultaneously as Warner Bros.’s ‘Barbie’, creating the internet phenomenon known as “Barbieheimer.”
‘Oppenheimer’ earned over $82.4 million on its opening weekend and has since grossed over $322.4 million domestically and $933.8 million worldwide, making it the 2nd highest-grossing R-rated movie. ‘Oppenheimer’ has a total runtime of 3 hours.
Watch the official trailers for ‘Oppenheimer’ below:
SthZl9DM
While some theaters are still playing the movie, options are limited as the film has passed its 45-day theatrical window. Currently, there is no word on when the historical biopic will be released on digital or streaming. ‘Barbie’, which was released at the same time as ‘Oppenheimer’, is already available on digital. However, it is possible the film remains in theater longer as Nolan requested a longer theatrical window.
If the film were to follow the release schedule of Universal’s ‘The Super Mario Bros. Movie’, arriving on its streaming service Peacock 120 days after its theatrical release. That could mean ‘Oppenheimer’ would be available on streaming by mid-November.
(L to R) Emily Blunt is Kitty Oppenheimer and Cillian Murphy is J. Robert Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
Christopher Nolan has crafted another masterpiece with an epic historical biopic that is as captivating as it is compelling. What begins as a character study eventually unfolds into an intriguing political mystery with unexpected twists and turns. Cillian Murphy gives the performance of his career as the conflicted and complicated J. Robert Oppenheimer, while Robert Downey Jr. also gives one of his finest performances to date as Lewis Strauss, Oppenheimer’s eventual adversary.
Story and Direction
Writer, director, and producer Christopher Nolan on the set of ‘Oppenheimer.’
The three-hour long movie tells the story of J. Robert Oppenheimer from his early years studying physics in Germany, to eventually being recruited by the U.S. government to work on the Manhattan Project and the aftermath of the creation of the Atomic bomb. The story is mostly told in flashbacks from both Oppenheimer and Lewis Strauss’ points of views. Oppenheimer is defending his actions following WWII in a secret government meeting, while Strauss is addressing a Senate committee as he has been appointed to a cabinet position. We see the events as they unfold as memories for both characters, with Strauss’ in black and white, and Oppenheimer’s depicted in color, which also represents the characters personalities as Strauss sees the world in black and white while Oppenheimer sees bright colors.
Christopher Nolan is unarguably one of the most celebrated filmmakers of his generation and is known for making twisty movies like ‘Memento’ and ‘Inception,’ as well as historical documents like ‘Dunkirk,’ but ‘Oppenheimer’ excels because it does both at the same time and embraces everything Nolan does well. Nolan’s script is smart, cutting back and forth between both Oppenheimer and Strauss’ hearings and their individual flashbacks, and using that to frame the story of creating the Atom bomb. But the movie is also a political thriller, and has a ‘Usual Suspects’ level twist towards the end that you won’t see coming.
Nolan sets an epic tone for the film, which is grand in scope and design, and he gets the very best out of his ensemble cast. Nolan’s use of cutaways to visual effects of atoms, molecules, fire and stars representing thoughts running through Oppenheimer’s head were interesting but thankfully used sparingly. While the film is long at just about three-hours, it goes fast and Nolan uses the most of his time setting the stakes for the drama and allowing his cast room to breathe. The movie also looks gorgeous, thanks to Nolan and the work of cinematographer Hoyte van Hoytema.
Cillian Murphy as J. Robert Oppenheimer
Cillian Murphy is J. Robert Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
Cillian Murphy is best known for playing the Scarecrow in Nolan’s ‘Dark Knight’ movies and hasn’t really had the chance to show off his talents until now. As the title character Murphy delivers a strong and layered performance with authority that gives the movie a feeling of importance and urgency. Oppenheimer is driven, egotistical, brilliant, self-absorbed and conflicted, and Murphy conveys all of this with very little effort, giving a seamless performance. This is definitely the actors best work, and I would be surprised if he doesn’t get a lot of attention come awards season.
Robert Downey Jr.’s Performance
Robert Downey Jr is Lewis Strauss in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
Robert Downey Jr. is one of the most popular actors of his generation, but after a decade of playing Iron Man, it’s easy to forget just how good a dramatic actor he is and this movie helps remind us of that. Despite the title, ‘Oppenheimer’ is almost as much Downey’s movie as it is Murphy’s, and the actor completely holds his own narrative well. While the two actors share few scenes together and Downey’s role is supporting, his character is pivotal to the story and the true antagonist of the film. In a career as impressive as Downey’s, it’s hard to say this is his best performance, but it’s certainly on the short list, and I’m starting the campaign now for Downey to get nominated for an Oscar for Best Supporting Actor.
Supporting Cast
Matt Damon is Leslie Groves in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
Nolan has always assembled incredible casts of actors for his projects, but the abundance of riches here is a bit embarrassing. The movie stars a who’s who of talented actors, and I of course can’t mention all of them, but I will say Matt Damon stands out. Damon plays Leslie Groves, the General that recruited Oppenheimer. The actor plays the role with a bit of his signature charm, which fits the otherwise serious military figure well. Damon also has good chemistry with Murphy, and the two characters forge a nice friendship together.
Surprisingly, Josh Hartnett, who’s been away from the big screen for some time makes a fantastic comeback as Ernest Lawrence, one of Oppenheimer’s colleagues. Hartnett gives a really strong performance opposite Murphy and is a wonderful addition to the cast. Benny Safdie and David Krumholtz also play colleagues of Oppenheimer and both actors bring a lot to their characters as well.
Josh Hartnett is Ernest Lawrence in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
Florence Pugh also stands out and gives a very daring performance as Jean Tatlock, Oppenheimer’s first love. Pugh’s character is sweet and vulnerable, and you understand why he falls in love with her in the first place. But their story is also tragic, and Pugh’s tender performance gives her character a real voice in the movie.
Unfortunately, Emily Blunt’s performance as Oppenheimer’s wife, Kitty, did not work for me. The character was not as well-defined in the script as Jean, and while Blunt is a great actress and did her best in the role, her performance falls flat with her limited screen time. The chemistry between Oppenheimer and Kitty never quite works, especially in comparison to his relationship with Jean, but perhaps that was the point.
Emily Blunt is Kitty Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
(L to R) Emily Blunt is Kitty Oppenheimer and Cillian Murphy is J. Robert Oppenheimer in ‘Oppenheimer,’ written, produced, and directed by Christopher Nolan.
I would imagine that this film will be nominated for Best Picture at the Oscars next year. I’d be surprised if Nolan doesn’t get nominated as well for both Best Director and Best Adapted Screenplay. Depending on how the rest of the year shapes up, he’ll probably walk away with at least one of those awards. Nolan’s been nominated five times before and never won, and right now, this seems like the movie and the year where he might actually win.
I think Cillian Murphy has a great chance of being nominated for Best Actor, and certainly deserves it, but I’m really hoping that Robert Downey Jr. is rewarded for his incredible performance here, as well as his overall body of work. Florence Pugh also has a chance at a Best Supporting Actress nomination, but that will really rely on who the rest of the competition will be. I would also imagine the film will receive several technical nominations as well as cinematography for Hoyte van Hoytema.
Final Thoughts
In the end, ‘Oppenheimer’ is another Christopher Nolan masterpiece. A movie that works both as a compelling historical biopic, and an intriguing political thriller with brilliant performances from Cillian Murphy and Robert Downey Jr.
‘Oppenheimer’ received 9.5 out of 10 stars
(L to R) Cillian Murphy (as J. Robert Oppenheimer) and writer, director, and producer Christopher Nolan on the set of ‘Oppenheimer.’
The ongoing writers’ strike (and potential action from other guilds such as the actors’ union) is having a major impact on studio output. And Disney is not immune to changes in schedule. The company has announced that it is moving the release dates for a lot of its big upcoming movies, and that means we’ll all have to be patient when it comes to the likes of Marvel, James Cameron’s ‘Avatar’ and the ‘Star Wars’ galaxy.
Marvel, of course, has been delaying some of its films’ production and that is having a domino effect for the highly connected cinematic universe, which relies on films to set up the next entries. Lest the tapestry all unravel, that means moving some movies back.
And because there is only so much space on the calendar (and Disney seemingly already takes up a third of it), that means the next giant, phase-ending team-up movies are also on the move. ‘Avengers: The Kang Dynasty’ will be bumped back a year, to May 1st, 2026, inheriting the release date for follow-up ‘Avengers: Secret Wars’, which itself is headed to May 7th, 2027.
It’s not all delays for the MCU, though; ‘Deadpool 3’, which is in production, will move up from its original November 8th, 2024, date to May 3rd of that year.
FW15JuJGFTtwqnkn4XqPf5
More ‘Avatar’ delays
‘Avatar: The Way of Water’ will be available exclusively to purchase on Digital March 28th.
Though James Cameron’s movies would seemingly not be impacted by a writers’ strike since their scripts are essentially finished, the series can’t avoid the release date shuffle.
That means ‘Avatar’ fans, already well used to the waiting game, will see their patience tested further, since ‘Avatar 3’ has moved to December 19th, 2025, ‘Avatar 4’ to December 21st, 2029, and ‘Avatar 5’ all the way to December 19th, 2031! which means the apparent final movie will land 22 years after the original 2009 film.
FWuSGLyAAvtzTcYFpQsOf6
New ‘Star Wars’ movie dates
(L to R) Director Sharmeen Obaid-Chinoy and Daisy Ridley at Star Wars Celebration 2023.
If you were starting to wonder when we might ever see a new ‘Star Wars’ movie, then there’s good news.
2026 will see two movies set in that galaxy far, far away from Lucasfilm, one on May 22nd, 2026 (not the fourth?) and another set for the more traditional recent slot of December 18th that year.
A third film is reportedly headed our way on December 17th, 2027. Disney has yet to clarify any details of which of its in-development movies are taking those berths, but we can assume one is the Rey follow-up starring Daisy Ridley which has Sharmeen Obaid-Chinoy in the director’s chair and was confirmed at Star Wars Celebration. On the basis of that, we can also predict that Dave Filoni’s film and possibly James Mangold‘s movie might be in the other two slots.
obcW6PjkRaHz7xGx7NFXW1
Live-Action ‘Moana’ and more
Dwayne Johnson announces live-action ‘Moana.’ Courtesy of Walt Disney Studios.
There are also dates on the calendar now for films that didn’t have them previously –– the live-action ‘Moana’ is set to surface on June 27th, 2025, while Fede Álvarez’ movie set in the ‘Alien’ universe is arriving on August 16th next year. Espionage thriller ‘The Amateur’, starring Rami Malek, is set for November next year.
BCm3cnMl8HXZvmnyJ2l2j1
Frustration ahead for film fans, then, but hopefully the movies will be worth the wait.
(L to R) Christian Bale, Margot Robbie and John David Washington in director David O. Russell’s ‘Amsterdam.’ Photo courtesy of Walt Disney Studios.
Opening in theaters on October 7th, ‘Amsterdam’ reveals David O. Russell’s talent for attracting quality actors, but also comes across as his weakest script and resulting movie in quite some time.
It’s the sort of cast that most filmmakers would sell their grandmothers to acquire, but unfortunately it’s a lot of impressive people in service of an underbaked narrative that is more about quirks and screwball comedy – until it isn’t.
Bale plays Burt Berendsen, an idiosyncratic doctor with a glass eye and a complicated back brace who works to help World War I veterans like himself to feel whole again with prosthetics and other techniques.
(L-R): Christian Bale, John David Washington, and Margot Robbie in 20th Century Studios’ ‘Amsterdam.’ Photo courtesy of 20th Century Studios. All Rights Reserved.
John David Washington is Harold, Burt’s lawyer, but also his old war friend, who served with him in an integrated unit commanded by Ed Begley Jr. Immediately following the conflict Harold and Burt spent a few years in a bohemian throuple with a nurse named Valerie (Robbie), who also happened to be a rebellious trust fund hipster.
The three spent their time in an artists’ loft in Amsterdam, living, loving and, in Valerie’s case, making art. But it didn’t last once they returned home.
When Begley Jr.’s general dies – suspiciously, according to his daughter, played by Swift (who, yes, has the chance to sing briefly) – Burt and Harold are thrown into investigating what really happened to the military man. And that, in turn, brings them into contact with the likes of Saldana’s heroic nurse and a much wider conspiracy and fully reconnects them with Valerie.
Before too long, Burt and Harold are framed for a crime themselves, and must work to clear their own names. That mission leads to them meeting De Niro’s hero general, a friend of Begley Jr.’s. He’s the pawn in the bigger plot, but comes to play a much important part, even if it is late in the film.
With a seemingly compelling set-up, you might think that the movie would roll along merrily, bringing opportunities for slapstick humor, twists and turns. And it does – but there’s very little that is merry about this mess.
A big problem is one of clashing tones, even within the main cast. While Bale (never one to pass up the chance to throw himself into an odd character, shed some weight and adopt a make-up prosthetic) and Robbie go full tilt with their quirky personas, Washington appears to have been dropped in from another film all together. He puts the “dead” into “deadpan”.
Yes, people are not one type, yes, different personalities can work when portrayed on screen, but here it simply doesn’t blend, the oil/water combo leading to an awkward, distracting experience that clouds any possible benefit from the story.
It’s such a frustrating experience, putting weirdness and silliness before narrative.
As he weaves his mystery story, Russell loads up the movie with more and more side characters and only barely manages to make them all connect.
(L-R): Christian Bale and John David Washington in 20th Century Studios’ ‘Amsterdam.’ Photo courtesy of 20th Century Studios. All Rights Reserved.
Though the writer/director clearly has a lot on his mind – personal freedom vs. responsibility, the joy of expression through art, life in the interwar period and the necessity of standing up to fascism – but it’s all mashed together into an ungainly stew of messages and madness.
That final topic, the seemingly endless struggle against the forces of racist totalitarianism and power-hungry elites, is so watered down by everything that has come before that it lacks any real punch. It’s not so much a well-crafted allegory for life than it is a lesson driven home with all the subtlety of a carpenter using the world’s heaviest hammer.
The cast does their best to keep it all afloat – Bale commits, of course, and Robbie brings her considerable charm to bear on the role of Valerie. All that really serves to do, though, is push Washington further into the background, a waste of his own considerable (if straight arrow) charisma.
Others, such as Malik and Taylor-Joy barely get a chance to register, though there are a few who push through the noise, such as Alessandro Nivola as the confused, angry Detective Hiltz or Rock, who finds the funny in every line he’s given (his reaction upon discovering that Bale and Washington are looking to move a dead body is a fine example). Many are less real human beings and more collections of tics, such as Myers and Shannon as government agents.
In the movie’s defense, there are some typically superb examples of production and costume design, while cinematographer Emmanuel Lubezki brings light and life to the whole thing. Russell and his editor Jay Cassidy try to keep the whole thing together, but the whole is most certainly less than the sum of its parts.
But if Russell was intending to blend farce with fact (a title card at the start announces that “some of this actually happened, which feels more like a lazy stab at meaning than a commitment to anything real), he’s way off with this one.
Coming from the director of ‘Silver Linings Playbook’, ‘Three Kings’ and ‘The Fighter’, it has the feeling of a filmmaker who never wants to be pigeonholed into one particular style or genre, but has this time settled for madcap and serious all at once. It doesn’t work.
‘Amsterdam’ is proof that even the highest wattage of star power can’t always supply the energy that a film needs. Especially once as poorly conceived and structured as this one.
‘Amsterdam’ receives 2.5 out of 5 stars.
(L-R): Christian Bale, Margot Robbie, and John David Washington in 20th Century Studios’ ‘Amsterdam.’ Photo courtesy of 20th Century Studios. All Rights Reserved.
6fZEdMCJsSQ9roGiF1JN84
Set in the 1930’s, the new movie stars Bale as Burt Berendsen, a doctor with a prosthetic eye, who along with his friends Harold Woodsman (John David Washington), a lawyer, and Valerie Voze (Margot Robbie), a nurse, become the prime suspects in the murder of US Senator Bill Meekins (Ed Begley Jr.).
Moviefone recently had the pleasure of speaking with Christian Bale about his work on ‘Amsterdam,’ why he likes collaborating with filmmaker David O. Russell, how he creates a character, and what ‘Amsterdam’ means to him.
(L to R) Christian Bale and his wife, Sibi Blažić at the Los Angeles premiere of director David O. Russell’s ‘Amsterdam.’
You can read the full interview below or click on the player above to watch a video of our interview with Christian Bale about ‘Amsterdam.’
Moviefone: To begin with, this is your third film with director David O. Russell, what is it about working with David that brings out the best in your performances?
Christian Bale: He’s a real circular thinker and I love the way that he does think. He doesn’t forget a thing. He’s very passionate about what he does. We just have a good dynamic. I think it’s a good yin and yang. We complement each other. On this one we decided to get much more involved than any other previous project. We started putting this together, it was five, six years ago, and just building it right from nothing. I just enjoy working with him so much, and it’s always fun.
You never know exactly what’s going to happen on the day. I wouldn’t call it improvisation so much, as he just likes you to know the character so much that he can chuck out different ideas. Sometimes I’d riff, but most of the time he’s chucking out lines or kicking me in the leg or something. It’s just something that creates a very lively, colorful, beautiful but unpolished look at humanity. He loves people. He loves people and characters and so do I, so telling stories with him is just a joy.
(L-R): Christian Bale, Margot Robbie, and John David Washington in 20th Century Studios’ ‘Amsterdam.’ Photo courtesy of 20th Century Studios. All Rights Reserved.
MF: Where does the creation of a character begin for you? Is it in the voice? Is it the hair, the facial hair, the accent? What is it?
CB: I don’t know what I do. I don’t have any particular way of doing it. I make it up each time with every job. I begin each job going, “Oh my God, someone hired me again.” I don’t even know what I’m doing. I never really trained, so I don’t really have a particular technique. People often say, “Oh, Bale, he’s a method actor.” I’m not a method actor. I would’ve had to train to do that. I just do whatever is necessary for each and every day.
But gradually all the bits and pieces come together. I don’t have a particular order. But, of course you’ve got the history, the mannerisms, the voice, the body language and the walk, and when you prep something as much as David and I did on this, that was what was great. David would suggest storylines and then ask me, “What do you think Burt would do with that?” I knew it well enough by that point that I’d be able to help him out. It really gives you a nice sense of freedom, of total ownership when you’re making the film.
(L-R): Christian Bale, Margot Robbie, and John David Washington in 20th Century Studios’ ‘Amsterdam.’ Photo courtesy of 20th Century Studios. All Rights Reserved.
MF: Finally, in the movie, Amsterdam is a very important place for the characters. Where is your Amsterdam?
CB: Well, I mean, obviously in the film, Amsterdam is the halcyon days for these people, when life is as it is meant to be, and how they dreamed it to be, and what they’re striving for life to become like. For me it’s any moment when you’re totally dedicated to what you’re doing.
That’s when you’re so absorbed in what you’re doing that you can’t think of anything else. I get that kick out of acting. When I was allowed to before accidents, I used to get that out of motorcycles and racing them and stuff. I get that kick out of my family as well.
Christian Bale stars in director David O. Russell’s ‘Amsterdam.’
6fZEdMCJsSQ9roGiF1JN84
Having famously switched his filmmaking operations to Universal from longtime home Warner Bros. after dissatisfaction with the straight-to-HBO handling of some movies and its treatment of ‘Tenet’, Christopher Nolan has been working away on his next movie, ‘Oppenheimer’.
Universal, naturally, is going all out to promote this one, including with this first, unusual teaser, which features fragments of footage from the film, some voice-over dialogue referring to its subject matter and an ominous countdown clock.
Some have speculated that it’s to the release date – but not in America, as those figures don’t sync up. But with the movie opening in Singapore the day before its Stateside release, it makes more sense.
Nolan here is adapting the Pulitzer Prize-winning book ‘American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer’ by Kai Bird and the late Martin J. Sherwin. It chronicles how he was part of the infamous Manhattan Project and played a key role in the creation of atomic weapons, yet later came to have complicated feelings about their deadly power. He lobbied for international control of nuclear power and opposed the creation of the even more destructive hydrogen bomb.
Cillian Murphy, a Nolan regular, plays Oppenheimer, who is glimpsed briefly in this first footage.
Cillian Murphy as J. Robert Oppenheimer in ‘Oppenheimer’ written and directed by Christopher Nolan.
Emily Blunt is playing his wife, biologist, and botanist Katherine “Kitty” Oppenheimer, with Matt Damon as General Leslie Groves Jr., director of the Manhattan Project and Robert Downey, Jr. as Lewis Strauss, a founding commissioner of the U.S. Atomic Energy Commission.
Florence Pugh will portray psychiatrist Jean Tatlock, who turns out to have a hidden agenda, while Benny Safdie plays theoretical physicist Edward Teller. Michael Angarano is physicist Robert Serber and Josh Hartnett plays pioneering American nuclear scientist Ernest Lawrence.
Look, at this point it’s probably easier just to list the people who aren’t in Nolan’s latest. It might be the first end credits crawl in years where the cast runs for a longer time than the effects teams.
‘Oppenheimer’ sees Nolan tackling a historical subject again, and one that surely offers the opportunity for plenty of his terse dialogue and large-canvas visions. It won’t surprise you to learn that it has been shot and be and released on 65mm IMAX and large-format film. Providing the beautiful footage is another repeat Nolan colleague, director of photography Hoyte Van Hoytema, while composer Ludwig Göransson returns after scoring ‘Tenet’. A pulse-pounding biopic thriller with high stakes certainly feels like it could work well for Nolan.
‘Oppenheimer’ will be in theaters here from July 21st.
Cillian Murphy as J. Robert Oppenheimer in ‘Oppenheimer’ written and directed by Christopher Nolan.
1tOJVQRXmFcGn2lZ7Th6l7
The ongoing writers’ strike (and potential action from other guilds such as the actors’ union) is having a major impact on studio output. And 
