ONE of the most-talked about box office clashes in recent times, Christopher Nolan’s Oppeneheimer and Greta Gerwig’s Barbie arrives in cinemas tomorrow. The embargo over the reviews of the films has been lifted and social media can’t keep calm.
Both the films have majorly received positive reviews from the critics. While Oppeneheimer scored a 9/10 score on IMDb, Barbie got an 8/10. The Rotten Tomatoes ratings for the films are 92% and 89% respectively.
Oppenheimer is currently ahead of Nolan’s previous masterpiece, The Dark Knight in terms of Rotten Tomatoes rating. The film has now emerged as the movie maverick’s best rated work.
“Christopher Nolan’s Oppenheimer is a brainy, brawny thriller about the man who led the Manhattan Project to build the bomb that ended World War II. To dispense with the inevitable weapon of mass destruction metaphors, it’s more slow-burn than explosive. But perhaps the most surprising element of this audacious epic is that the scramble for atomic armament ends up secondary to the scathing depiction of political gamesmanship, as one of the most brilliant scientific minds of the 20th century is vilified for voicing learned opinions that go against America’s arms-race thinking,” wrote The Hollywood Reporter.
The New York Times wrote, “It’s a dense, event-filled story that Nolan — who’s long embraced the plasticity of the film medium — has given a complex structure, which he parcels into revealing sections. … The film’s virtuosity is evident in every frame, but this is virtuosity without self-aggrandizement.”
“Oppenheimer is Nolan’s most mature work, combining the explosive, commercially-enticing action of The Dark Knight trilogy with the cerebral underpinnings that go back more than 20 years to Memento and run through Inception and Tenet,” wrote the BBC.
In their review, Variety wrote, “It’s kind of perfect that Barbie is opening opposite Christopher Nolan’s Oppenheimer, since Gerwig’s girl-power blockbuster offers a neon-pink form of inception all its own, planting positive examples of female potential for future generations. Meanwhile, by showing a sense of humor about the brand’s past stumbles, it gives us permission to challenge what Barbie represents — not at all what you’d expect from a feature-length toy commercial.”
“Welcome to Greta Gerwig’s fiercely funny, feminist Dreamhouse. The Barbie movie could’ve been another forgettable, IP-driven cash grab. Instead, the director of Little Women and Lady Bird has crafted a neon pink delight,” wrote Entertainment Weekly.
The New York Times wrote, “Gerwig does much within the material’s inherently commercial parameters, though it isn’t until the finale — capped by a sharply funny, philosophically expansive last line — that you see the Barbie that could have been. Gerwig’s talents are one of this movie’s pleasures, and I expect that they’ll be wholly on display in her next one — I just hope that this time it will be a house of her own wildest dreams.”
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