Director: Greta Gerwig
Cast: Margot Robbie, Ryan Gosling, America Ferrera, Kate McKinnon, Michael Cera,
Ariana Greenblatt, Issa Rae, Rhea Perlman, Helen Mirren, Will Ferrell
Rating: (PG) ★★★
OPPENHEIMER
Director: Christopher Nolan
Cast: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh,
Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh, Benny Safdie
Rating: (M) ★★★+
REVIEWED BY JEREMY QUINN
Barbenheimer or Oppenbarbie? This was my big existential dilemma of the day when choosing the all-important viewing order for these two much-hyped mega-movies that have blasted into theatres with the force of a sparkly nuclear missile.
The internet seems to favour Oppenheimer then Barbie, presumably to reverse the crippling depression brought about by a three-hour-long meditation on the transience of existence with a well-earned chaser of candy-coloured frivolity.
As scheduling difficulties would have it, I decided to travel the alternative route, also known as the psychopath’s journey, although in fairness I’ve never been one to shy away from a day’s worth of moviegoing masochism. In hindsight, it was the only way to go.
First up, Greta Gerwig’s Barbie (Rialto, Metro, Reading), a film that was a meme before it even started shooting. You’ve seen the trailers, and honestly, it’s perfectly realised in terms of execution - the casting is spot on, the production design and visual elements are a wonder to behold, and it has more inventiveness, creativity and clever ideas than any mainstream comedy in years.
Yet, it doesn’t work as well as it should, and I suspect the reason is that it’s always trying to have it both ways. I spoke to a prominent Dunedinite after the screening who told me it was perhaps the best and the worst movie they’d ever seen, and I actually think that’s kind of accurate.
It attempts to be knowingly subversive and countercultural while shamelessly shilling for a toy company, it espouses feminist empowerment and progressive ideals while having deeply conservative undertones, and on a more basic level it seems certain of itself as the peak of hilarity while a large percentage of the jokes simply don’t land.
Maybe I’m just overthinking this one. In any case, Gerwig is a hell of a good director and I’m pleased to see her at least selling out with her artistry and integrity intact. I really wanted to like it more than I did, but on the other hand, I’m very much aware I’m not the target audience.
Next up, Christopher Nolan’s Oppenheimer (Rialto, Reading), the biography of the ‘‘father of the atomic bomb’’, which is filled with so many moments of pure cinematic brilliance while also being constantly undercut by Nolan’s essential Nolanness.
The first two hours are pretty much outstanding. Jumping back and forth in time, Nolan aims for an experiential, subjective character piece that doubles as a, shall we say, explosive history lesson, which is psychologically fascinating, visually engaging, emotionally draining and epic in scope.
It’s as impressive as anything he’s ever done, but the constant, frenetic pacing and unwillingness to ever let the film slow down and breathe eventually wears out its welcome.
Still, when it comes down to it I’d much rather see these wildly ambitious passion projects from two hugely talented pop-auteurs than yet more soulless studio sludge from heartless corporate hacks. If Barbenheimer has taught me anything, it’s that Hollywood still knows how to put on a good show.
