![]() Dune director Denis Villeneuve is also reported to be unhappy with the situation, having understood the film would be launched on the big screen. Legendary has co-financed Dune and Godzilla vs Kong, two of Warner Bros’ 2021 releases, and is reportedly currently attempting to renegotiate their contracts in light of the projected loss of cinema revenue. Warner Bros is likely to face legal consequences for its decision, with reports that high-profile production outfit Legendary is considering suing the studio. The underwhelming commercial performance of Tenet at the US box office, where it took $57.6m after its release in September, is thought to have partly formed Warner Bros’ thinking, but the decision to change the release of all 17 of its 2021 slate – which includes such tentpole offerings as The Matrix 4, Dune and The Suicide Squad – has provoked widespread consternation. Nolan’s intervention amid widespread industry dismay at Warner Bros’ move is all the more dramatic considering the studio has been involved in all his films since 2002’s Insomnia, including the blockbusting Dark Knight trilogy and recent productions Dunkirk and Tenet. ![]() Their decision makes no economic sense, and even the most casual Wall Street investor can see the difference between disruption and dysfunction.” Nolan went even further in a statement to the Hollywood Reporter, saying: “Some of our industry’s biggest film-makers and most important movie stars went to bed the night before thinking they were working for the greatest movie studio and woke up to find out they were working for the worst streaming service … don’t even understand what they’re losing. Here, he tames the impulse to be too opaque, keeping the audience oriented and informed throughout a consistently absorbing narrative that demands close attention but rewards that commitment with a movie that evolves from a historical and biographical deep dive to a meditation on moral injury and, in its final hour, to a thoroughly gripping psycho-political thriller.He added: “It’s very, very, very, very messy … not how you treat film-makers and stars and people who … have given a lot for these projects.” With movies like “Inception,” “Interstellar” and “Tenet,” Nolan has enjoyed keeping the audience one step behind, world-building across the space-time continuum in ways that probably only Oppenheimer himself could understand. ![]() Luckily, Nolan - who wrote the script, adapted from Kai Bird and Martin Sherwin’s book “ American Prometheus” - knows his way around a scrambled chronology. There’s a lot of information to keep track of in “Oppenheimer.” Spanning four decades, during which the title character goes from protégé to prophet to pariah, the movie is a jumble of time frames, narrative arcs, and characters who move in and out of the subject’s life in sometimes shocking but always intriguing ways. As Oppenheimer makes a name for himself in quantum mechanics - he’s written a widely circulated paper on molecules - we also meet the man who will become his chief antagonist: Lewis Strauss, the businessman and philanthropist who recruited Oppenheimer to head the prestigious Institute for Advanced Study in Princeton, N.J., and who would ultimately bring Oppenheimer low after their work together on the U.S. “Oppenheimer” begins in medias res - in the middle of things, the “things” being the title character’s whirlwind academic career, which took him from England to Germany and Amsterdam, then finally to Caltech and Berkeley. And he’s not always sympathetic: We meet him as a promising student in theoretical physics who gets back at a condescending tutor at Cambridge by poisoning an apple on his desk. Not only was he a man of seductively gnarly complications, but he moved through the 20th century as an avatar of its most deeply held aspirations and anxieties. It’s easy to see why Nolan was attracted to Oppenheimer as a protagonist.
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