theme could hardly be more momentous, namely the birth of the atomic age, which still holds us in its grip. But director Christopher Nolan – who frequently bites off more than he can chew – has been uncommonly skilful in blending the big issues with the personal story of J. Robert Oppenheimer.
. By any standards, the latter is a vastly more complicated proposition than Song’s semi-autobiographical tale of a Korean-American woman’s lost love.may be flawed in many ways, but it seems that storytelling ambition and sheer technical mastery count for nothing.but it’s disappointing that the Academy continues to ignore a director as good as Ridley Scott.
. Even Carey Mulligan, as Leonard Bernstein’s long-suffering wife, Felicia, deserves greater consideration. It seems wildly inconsistent that Gladstone is the front-runner for Best Actress, when Leonardo DiCaprio didn’t even score a Best Actor nomination for his much more difficult role in the same movie., as a writer who knocks off a cliché-ridden “black” novel as a hoax, and watches it become a bestseller.
It may be a mark of the film’s weirdness that Margot Robbie didn’t receive a Best Actress nomination for a committed performance in the lead role in Barbie.. These are films that are hard to categorise, and utterly abandon realism in favour of extravagant fantasy. In, Greta Gerwig tries to reconcile a mass of contradictions about the popular blonde-haired doll and succeeds better than one might have expected.
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