Oppenheimer (Nolan)

[futureman 22,457]

7 hours ago, Surly Bevo said:

Not so much for the actual physics but knowing major 20th century contributors to it. 

yeah but Nolan took some creative license with the timeline.  it bothered me that he put Heisenberg in the film when Breaking Bad didn’t take place for another 60+ years.  I found it to be lazy writing. 

[Parliament 14,258]

8 hours ago, kingkoopa6 said:

 

Sorry.  I'll be more discrete next time.

[miguelito 11,264]

At least post the picture you got.

[Guest]

Dropping wife off at airport and going to see this flick at 10:45.  I bet I'm the youngest person in there.

Hoping the theater makes a difference for the sounds and explosions.

[kingkoopa6 8,350]

3 hours ago, slorch said:

Dropping wife off at airport and going to see this flick at 10:45.  I bet I'm the youngest person in there.

Hoping the theater makes a difference for the sounds and explosions.

$2 you weren’t the youngest. 
 

had a bunch of young folks in my viewing
 

young being 20 something 

Edited July 22, 2023 by kingkoopa6

[speed817 19,269]

Finally was able to snag 70mm IMAX tickets for next Friday lol

[MonkeyDoughnut 10,234]

Saw if last night and thought it was great. Masterpiece - no, but definitely great.  It did feel either too long or not long enough though, like it needed to be shortened in its current form or extended and broken into 2-3 parts. Also I love watching films in IMAX, I'm not sure this is one of those films that I would think definitely needs to see in IMAX.

It's an odd film too as most everyone walking out didn't know what they thought of it or how to feel after watching it.  Takes some time after to sink in. Lots of great acting as others have mentioned.

[futureman 22,457]

I definitely enjoyed it but I didn't know much about Oppenheimer outside of "he's the guy that made the bomb" so following all the characters was a bit difficult.  I think if you have read the book (that the movie is based on) or are just especially knowledgeable about that part of history that this movie would be like porn on ecstasy or something.

[cabowabo 4,484]

Gonna see it this afternoon. For my middle aged men brothers, these are apparently the best times to go take a piss.

[Guest]

2 hours ago, kingkoopa6 said:

$2 you weren’t the youngest. 
 

had a bunch of young folks in my viewing
 

young being 20 something 

You would have won the bet.  There were some younger-somethings in there.

Long ass movie, but I enjoyed it.  10:45 start and started the vehicle at 2:01.

Spoiler

Enjoyed the last shot about the senators who voted no on the appointee.  Don't forget Kennedy  was a Navy veteran also.  I got the feeling in the second half of the movie that there was some depth left out of the spy/counter-spy actions because of time  people can hold up in the theater.  There were just too many elements missing or things glossed over just to get to the point.  It had to be just an insane environment in which to operate.  Trust was in short supply, as was hope.

 

[Jatrain 288]

Saw it last night and thought it was great.  I’ve been listening to the Last Podcast on the Left Manhattan Project Series (and recently finished a book on it) so that helped lay a background for me which helped a lot in following it.  

[Guest]

Spoiler

Anyone else think of ole Thornton's response to Professor Turguson when Truman says to keep that crybaby out of his office?

[Michael Knight 12,977]

51 minutes ago, slorch said:

  Hide contents

Anyone else think of ole Thornton's response to Professor Turguson when Truman says to keep that crybaby out of his office?

 

No

[Guest]

Of course you didn't, you humorless fuck.

Thanks for sharing.

[Helobious 9,448]

Just saw it, thought it was awesome. The buildup to the test was especially great.

[cabowabo 4,484]

I look forward to seeing this again with subtitles. It was hard to understand a lot of the dialogue because of the constant background music and everything being too loud.   I thought it was hard to follow as they jumped around constantly to different time periods. Admittedly, I’m not real up to speed on my Oppenheimer history, so knowing a decent amount of that would assist in following it. 

[Helobious 9,448]

Agreed that this isn’t a movie you need to see in IMAX

[atomheartbevo 89,659]

Apparently, this was my dad when Richard Feynman was playing bongos in the background (he met Feynman a few times).

[Francisco 2.0 32,389]

https://www.washingtonpost.com/lifestyle/2023/07/19/christopher-nolan-oppenheimer-race/

This article is adapted from “Unleashing Oppenheimer: Inside Christopher Nolan’s Explosive Atomic-Age Thriller,” which will be published Oct. 10 by Insight Editions.

Inside Christopher Nolan’s 57-day race to shoot ‘Oppenheimer’

(Long read)

 

Spoiler

LOS ALAMOS, N.M. — The drive to Los Alamos from the valley below feels treacherous, even now.

J. Robert Oppenheimer chose this intensely remote location in northern New Mexico for the Manhattan Project, the U.S. government’s secret program to build an atomic bomb during World War II, preciselybecause it is situated on a maze of four mesas separated by deep canyons. It’s nearly impossible to find, and impenetrable if someone did locate it. Where better to save Western civilization than a mountainous high desert plateau, 7,200 feet above sea level, that looks like it’s straight out of a John Ford western?

Just as in 1943, the main entrance to town is a narrow highway that twists and turns atop cliffs of volcanic rock. The only difference now is that it’s paved. And it was up that “tricky road,” as he calls it, that Christopher Nolan found himself driving in June 2021, on a road trip from Los Angeles with his then-13-year-old son Magnus. By then, the director, known for critically acclaimed blockbusters such as “Inception” and “Dunkirk,” had already spent months writing the script for his own secret project on the man known as the father of the atomic bomb — an adaptation of Kai Bird and Martin J. Sherwin’s Pulitzer Prize-winning biography, “American Prometheus” — and had hit a creative block. So, he’d decided to make a pilgrimage to the town that Oppenheimer (and the U.S. military) built.

“I was ready to look at it and sort of stand there and see what it felt like,” says Nolan. When they arrived, Nolan and son acted as a two-man location scouting crew. They first stopped at a reproduction of the Manhattan Project main gate that had once prevented unauthorized visitors from entering “the Hill,” as locals call the town. It’s now part of the Manhattan Project National Historical Park and is in nearly the same place that the original main gate once stood. As they explored the area, they also found a small museum located in Fuller Lodge, the great manor house in the center of town, the walls of which were constructed from nearly 800 gigantic ponderosa pine logs.

Oppenheimer had first seen the lodge in 1922 on his first trip to New Mexico, when his father sent him from New York to the Southwest as part of his recovery from a bout of colitis, a condition that would plague him for the rest of his life. It was home to a ranch school for boys that the Manhattan Project would commandeer decades later.

The Los Alamos set at Ghost Ranch that Ruth De Jong’s team built from scratch, telephone poles included. (Melinda Sue Gordon/Universal Pictures)

 

Nolan and Magnus took a tour of Bathtub Row, the series of simple houses where the top-level Manhattan Project scientists lived — another remnant of the ranch school, so named because they were the only dwellings in town with bathtubs (although they lacked kitchens at first). Most of these dwellings are off-limits to visitors because homeowners live there now, but Oppenheimer’s house was unoccupied. “I don’t know if I should say this or not, but Magnus, he did a lookout while I hopped the fence and got some pictures of Oppenheimer’s house,” the director says.

Nolan returned to Los Angeles full of inspiration and dove back into the script. But he’d also been left with a vexing problem. If he wanted to film the town as it had existed in the 1940s, completely forgoing the ubiquitous modern filmmaking tricks of computer-generated imagery (CGI) and green screen, he’d have to emulate the very project he was writing about. He’d have to go out to a remote desert somewhere and build it himself.

Christopher Nolan directs Murphy and Blunt at Oppenheimer’s real home on Bathtub Row. (Melinda Sue Gordon/Universal Pictures)

 

“For me, there’s this ‘keyman’ question that hangs over the life of Oppenheimer, which is that no one person invented the atomic bomb,” says Nolan. “He wasn’t the first to split the atom. He wasn’t the first to have a self-sustaining chain reaction. But somehow, he’s the guy who brought it all together and made it happen in the moment that it happened.”

Specifically, though, the physicist made it happen in a place that was a favorite childhood haunt of his, where he had fond memories of riding on horseback.

“Reading the book, you realize that, when they’re looking for a site [for the Manhattan Project], he just gently steers it toward where he spent the summers as a kid,” says Nolan. “As a young man, he said that if he could find a way to combine physics and New Mexico, he could achieve complete happiness. Well, he did and he was — for a time. And his personality was so influential that the leading laboratory in the world still stands in a place where he just liked to vacation.”

That one character detail was enough to help Nolan envision the world he might be able to create on-screen, as told through Oppenheimer’s eyes: one of sweeping desert vistas combined with an array of abstract special effects, again created without CGI, to illustrate an interior life of quantum physics and atoms and molecules. “That contrast is wonderfully cinematic,” says Nolan, who then set out to craft a story that he describes as part hero’s journey, part heist film and part courtroom drama, set against the imagery of a western — all presented in very Nolan-esque, nonlinear fashion.

The director knew he wanted to explore Oppenheimer’s rise to prominence — as well as his humiliating trial after the war, which resulted in the revocation of his security clearance due to his associations with communists. The part he was calling the “heist” section depicts the mad scramble for the world’s most brilliant minds to pull off the impossible project of building an atomic bomb before Adolf Hitler did.

Nolan and Emma Thomas — his producing partner on every film since 1998’s “Following” and also his wife — had started assembling their production team in September 2021. By the end of the month, production designer Ruth De Jong (Jordan Peele’s “Nope,” TV’s “Yellowstone”) was at Nolan’s house, hunkering down with the director one-on-one while he was editing the script, eventually creating a handmade foamcore diorama, or “white model,” of their 1940s Los Alamos set that was so big it could only fit in Nolan’s backyard.

Researcher Lauren Sandoval joined them, scouring the 180-page script looking for every historical discrepancy, as well as creating files to be used as casting references for 79 named characters, all but one of whom existed in real life. As prep and production ramped up, she’d find photo references of the actual bomb, or architectural plans for the steel tower at the Trinity test site near White Sands National Park in southern New Mexico where the first detonation occurred.

Meanwhile, Cillian Murphy was already preparing for the mammoth title role, his sixth collaboration with Nolan but the first in which he’d play the lead. For starters, he’d have to drop substantial weight to better approximate Oppenheimer’s almost emaciated silhouette. And he’d have to brush up on his horseback-riding skills for a scene in which Oppenheimer and his wife, Kitty (played by Emily Blunt), race horses across the desert. Blunt had just shot a TV western, “The English,” while Murphy jokes that, on his TV show “Peaky Blinders,” the horses rarely went faster than a walk. “Brilliant thing is that, in the story, Kitty was fantastic at horseback, apparently better than Robert, so it worked out,” says Murphy. “Emily was so graceful and elegant, and I was less so.”

They had just three months to get ready for a film that would shoot in just 57 days and run three hours, Nolan’s longest yet. “We’re not like other big films that prep for months and months and months,” says executive producer Thomas Hayslip. “Chris is of the mind that he and the crew need 12 weeks of prep and we’ll get it done in 12 weeks, and any more than that is just a waste of time.”

Ever since that first road trip, Nolan had been convinced that it would be impossible to shoot entirely in Los Alamos. “When I was there with Magnus, I saw how many things had changed, obviously, since the 1940s,” says Nolan. “I mean, there’s a Starbucks.”

The offending Starbucks is on what would have been Los Alamos’s main street, once a Wild West-style thoroughfare. Beyond Bathtub Row and the well-preserved Fuller Lodge, which Manhattan Project scientists used as a cafeteria, very little has been preserved from when Lt. Gen. Leslie Groves (played by Matt Damon in the film) and Oppenheimer took over the town.

After location scouting throughout the Southwest, Nolan and his crew built the town on a completely untouched section of Ghost Ranch, an educational and spiritual retreat about an hour and a half north of Santa Fe, made famous by the painter Georgia O’Keeffe. There, they found exactly what they wanted for their Los Alamos: a plateau on a ledge high above the desert with nothing else around.

“When I brought Chris there, he said, ‘This is very epic,’” De Jong recalls. “You felt like, ‘No one will find you here.’ There’s no one. The rest of the world is happening and going on, and we’re doing this thing that we think will save humanity.”

The foamcore “white model” of the Los Alamos set at Ghost Ranch that Nolan and De Jong created. (Melinda Sue Gordon/Universal Pictures)

 

As the company began gathering in New Mexico to start filming at Ghost Ranch on Feb. 28, 2022, the paint was barely dry on the reconstructed town of Los Alamos. Construction had taken place in the dead of the high-desert winter, with the crew losing days of work because the ground was too frozen to dig into, or because snowfall had blocked the roads. Because of time constraints, the production team would have only six scheduled days at this $3 million set they’d spent three months building.

“Nobody is ever, ever, ever going to convince me that this would be better if shot on a soundstage,” says Damon. “When you have to go through the journey of getting out to the middle of nowhere in New Mexico and you don’t know what the weather’s going to be or what the wind’s going to do, that all affects the performance. The unpredictability and reality of being out there just gives you something that you can’t get in a controlled environment.”

Perhaps the most important sequence shot at Ghost Ranch was the moment in which Murphy puts on Oppenheimer’s distinctive porkpie hat for the first time, an action symbolic of the physicist truly coming into his own as the leader of this massive effort.

“He created this iconography, this version of himself,” says Murphy. “It was very self-consciously done, and the hat and the pipe were key. It was very helpful to me to know that these were decisions he’d made. I think he was vain. I think he was ambitious. He liked being talked about, and he liked being identifiable, and the hat and pipe were indicators of that.”

Cigarettes were also key to his persona. “Oppenheimer was a chain smoker,” says prop master Guillaume Delouche. “And when I say chain smoker, he smoked close to 150 cigarettes a day. When he didn’t smoke cigarettes, he would take a break by smoking his pipe.”

To help Murphy re-create the habit that eventually gave Oppenheimer fatal throat cancer, Delouche manufactured herbal cigarettes with a menthol flavor that Murphy could constantly smoke without getting sick. Delouche stamped the cigarettes with the logo of Chesterfield, the only brand Oppenheimer would smoke, and created period-specific cigarette packs for each era of the film.

Nolan believes in keeping an intense pace, so the cast and crew can keep civilized hours, get sleep and go home to their families. He also observes a strict routine, walking onto set every day and eating his breakfast — an omelet with avocado and crispy bacon — at 7 a.m.

“Chris works so fast that the only time you leave set is to go to the bathroom, and we move the toilets very close to you, so you don’t have to go too far,” says Hayslip.

For newcomers, Nolan’s rules were a shock to the system. “It was a real wake-up call for me,” says Blunt. “Chris’s sets can seem strict going into it, and then you realize it’s about placing the movie first. Every scene is so dialed in, because everyone’s been conversing with each other. No one’s been sitting in their own isolation looking at Instagram, distracting them from what they’re doing. I found it the most focused, collaborative experience of my career. I just ran to work. I loved it.”

Blunt found it hardest to adjust to Nolan’s requirement that actors come to set in costume, exactly as they’d appear on film. Carrying a coffee or wearing a personal coat, hat or boots while rehearsing was discouraged. The director’s reasoning was all about efficiency and keeping actors ready to shoot at a moment’s notice. He also wanted them to be entirely immersed in the world they were trying to re-create, without modern intrusions such as cellphones.

Blunt says she will never forget the day she showed up on set at Ghost Ranch wearing Ugg boots. “It was like a scene from ‘The Devil Wears Prada,’” says the actress, laughing. (She got her big break in that movie.) “Chris just looks down at your shoes, and it’s like Meryl Streep is looking at your horrible fashion choice. I just thought, ‘I’ll never be seen dead in Ugg boots around him again.’”

For her wrap gift to Nolan after the shoot, Blunt says she got the director “the ugliest Ugg slippers I could find.”

“Oppenheimer’s” reproduction of the main Los Alamos security gate on the Ghost Ranch set. It’s identical to the reproduction that stands at the top of the cliff road just outside modern-day Los Alamos. (Melinda Sue Gordon/Universal Pictures)

 

Filming interior scenes in the real Los Alamos began March 8, 2022. Nolan had revisited shooting in the extant historical buildings there, including Fuller Lodge and a 1940s Women’s Army Corps dormitory (which the production turned into Oppenheimer’s lecture hall), when he realized they had neither the time nor the budget to build those sets from scratch at Ghost Ranch. This meant he finally had the chance to shoot in the house on Bathtub Row where Oppenheimer and Kitty once lived. For the director, being there not only gave the scenes unique production value, but it also added something ineffable to the performances.

“It’s much better for the actors to be in the real place. It’s just informing so much of what they do,” he says. “It’s the exact opposite of doing something on a green­-screen stage, and particularly when people are tired and jaded on films from working long hours. There’s just something magic about walking into Oppenheimer’s real house.”

De Jong’s team and the set decoration department had furnished the space with authentic items, even finding wingback chairs that looked just like ones they had seen in a photo of Oppenheimer and Kitty relaxing with martinis. They also incorporated artwork and furniture that Murphy had uncovered during his research, helping the actor to “melt” into Oppenheimer’s space.

“Definitely, there’s something in the air and in the atoms of the place,” says Murphy, “and it confers a kind of responsibility on you, as a performer, and a responsibility on Chris also, as director. When you’re shooting in these real places where the people you’re portraying lived their lives, it adds a level of respect, and I think the audience subconsciously feels that.”

For Blunt, the house helped bring her closer to Kitty and gain a deeper understanding of her perspective. “They would drink a lot and barely eat and smoked like chimneys, and they had this real passion and fire for each other,” says Blunt, talking about the early days of their relationship.

But between Kitty’s indifference to motherhood and the isolation of Los Alamos, she began to lose herself to alcoholism. “The loneliness of life in Los Alamos must have just been extraordinary, and I felt so deeply for this woman who was not a nice person and really rubbed people the wrong way,” says Blunt.

In a key scene shot in the yard of the house on Bathtub Row, Kitty hangs up laundry while Oppenheimer heads down south to test the atomic bomb, his most triumphant moment. “She doesn’t get to see that,” says Blunt. “She’s busy hanging out laundry. Poor Kitty. No wonder she hit the drink.”

As an unexpected bonus of shooting in the home of the Manhattan Project, the production was able to cast real Los Alamos National Laboratory scientists as background actors.

“I was like: ‘It’s a town of 13,000 that’s known for the atomic bomb. I’m sure it’s full of people who know the history and have relatives who lived it,’” says Nolan, who asked the casting department to set up an open casting call in the town.

Olivia Thirlby, who plays scientist Lilli Hornig, says the actors quickly learned to lean on their new scientist friends. “We could ask, ‘So, what am I saying in this speech?’ And we’d get incredibly accurate and detailed descriptions — which didn’t make it any easier to understand,” she says, laughing.

The background actors were particularly important to a series of Los Alamos scenes that depicted the coming end of the war and Oppenheimer’s horrifying sense of guilt once the bombs drop on Hiroshima and Nagasaki, eventually killing or injuring more than 200,000 people. In one, a large group of scientists debate whether to go ahead with using the bomb on Japan after hearing that Germany has been defeated.

The director was amazed at how the actual scientists in the room could improvise incredibly complex geopolitical conversations based on their knowledge of the bomb.

“The actors were riffing on what the extras were giving them,” says Nolan. “It was a very unusual situation.”

 

 

 

[mchookem 16,334]

3 hours ago, cabowabo said:

I look forward to seeing this again with subtitles. It was hard to understand a lot of the dialogue because of the constant background music and everything being too loud.   I thought it was hard to follow as they jumped around constantly to different time periods. Admittedly, I’m not real up to speed on my Oppenheimer history, so knowing a decent amount of that would assist in following it. 

so your first Nolan flick? heh

[cabowabo 4,484]

24 minutes ago, mchookem said:

so your first Nolan flick? heh

I’m not a big movie guy, so not really familiar with his style. It was a good movie, but the reviews are going overboard about how great it was.  I just don’t understand the need for background music for pretty much the whole god damn movie. Annoying as hell.   Also, I love all the precautions taken for the Trinity test….everything except hearing protection. 

[Levi 2,586]

This film is one of Nolan’s best imo. The opening of the film was beautifully done. The back and forth of regular picture to black and white was one of the coolest parts. The use of color being subjective, and black/white being objective highlighted the film’s timeline well. Also, I don’t know when the last time a film has had best leading actor and best supporting actor nominations in the same film and won, but this film could be the next.  

[Butch Had Not 2,970]

Great movie.  Cillian and Iron man were awesome. 

Only thing I might change up and because Nolan already established a timeline that was not linear, i would finish with the trinity test.  You can still keep every aspect of the story and I'm not sure if it would impact the overall flow. Very minor criticism to otherwise fantastic movie.

 

[kingkoopa6 8,350]

Rewatched first 45 mins or so waiting for Barbie. 
 

I was hooked in again. Now I wanna watch it again start to finish 

[YChang 3,443]

I liked it. Almost as much as the fact that 90% of the dialogue this time was understandable. 😄

[GhostOfTomJoad 9,324]

23 hours ago, cabowabo said:

I look forward to seeing this again with subtitles. It was hard to understand a lot of the dialogue because of the constant background music and everything being too loud.   I thought it was hard to follow as they jumped around constantly to different time periods. Admittedly, I’m not real up to speed on my Oppenheimer history, so knowing a decent amount of that would assist in following it. 

I agree with this. The score was ridiculously loud, and in some places it detracted from the dialogue and the power of the scene itself. I get that Nolan wanted the audience to viscerally feel the tension building within Oppenheimer throughout the film, but there were a few times when I caught myself thinking "man, I'm going to enjoy this a lot more on my sofa."

Still an outstanding film with top notch performances throughout. 

Edited July 23, 2023 by GhostOfTomJoad
Furk

[cabowabo 4,484]

What the fuck was that?

[Helobious 9,448]

Did anyone else not really have a problem understanding the dialogue? I didn’t have any issues at all really

[kingkoopa6 8,350]

Zero issue.  Saw it 70mm

[YChang 3,443]

21 minutes ago, Helobious said:

Did anyone else not really have a problem understanding the dialogue? I didn’t have any issues at all really

It’s more poking fun at his sound editing choice with some of his past films. 

[Guest]

Uh Oh...I am agreeing with Helo.  Never crossed my mind that it was difficult to understand at all.  I'm also typically  pretty damned sensitive to noise/ music and it wasn't bugging me that, "Damn, the score is too fucking loud!"

 

As long as it isn't Alfie Solomons, I can understand most of it.

Edited July 23, 2023 by slorch

[YChang 3,443]

Also cause it’s been forever since I’ve seen him in a movie, but did not realize that was Josh Hartnett as Ernest Lawrence. 

Edited July 23, 2023 by YChang

[cabowabo 4,484]

3 hours ago, cabowabo said:

What the fuck was that?

Disregard.  Should have been in the Astros thread. Lol. 

[mdleast 8,289]

Saw it today. Thought it was great and was surprised how quickly the 3 hours flew by. I had no issues hearing the dialogue but, as is signature Nolan, the incredibly loud sound cues are to be expected. Actually made me laugh as one of them caused a jump scare for my wife.

[Parliament 14,258]

1) Theater was full for the 6:30, and easily 1/3 were youngs.

  1a) If they were there for Ms. Pugh's naughty bits, they were disappointed.  Musta been mostly edited out.

2) Score was distracting, but didn't interfere with the dialogue.

3) I gotta read up on the characters, especially the guy RDJ played.

4) Nolan's 3rd best film behind the Prestige and TDK.

[atomheartbevo 89,659]

 

[bluto 4,928]

So like why didn’t Oppenheimer just throw one of his bombs at the old man Ironman and kill him

[Parliament 14,258]

Or just slip one of those uranium marbles into his coffee.

[hobbes2702 13,033]

Thought it was technically incredible. Well acted, well constructed. I will say I was disappointed slightly as Nolan is usually great at making “movies” and this is much more than that. I posted in the Barbie thread that I enjoyed Barbie more, but this is clearly the superior film and will be deserving of the awards it gets.

[henrygandorf 29,190]

34 minutes ago, hobbes2702 said:

Thought it was technically incredible. Well acted, well constructed. I will say I was disappointed slightly as Nolan is usually great at making “movies” and this is much more than that. I posted in the Barbie thread that I enjoyed Barbie more, but this is clearly the superior film and will be deserving of the awards it gets.

this post sounds awfully woke to me.

[hobbes2702 13,033]

31 minutes ago, henrygandorf said:

this post sounds awfully woke to me.

Why? Barbie was hilarious and was a fun ride.

Oppenheimer was an incredible achievement but wasn’t nearly as fun or enjoyable. Saving Private Ryan isn’t enjoyable for me either. That doesn’t mean it isn’t great.

[mchookem 16,334]

Manchester by the Sea is the undisputed world champion of fantastically executed yet unenjoyable movies.

seeing Oppenheimer tomorrow afternoon, will probably save Barbie for streaming. 

[hobbes2702 13,033]

1 hour ago, mchookem said:

Manchester by the Sea is the undisputed world champion of fantastically executed yet unenjoyable movies.

seeing Oppenheimer tomorrow afternoon, will probably save Barbie for streaming. 

I wouldn’t say I found it unenjoyable but it’s down my list for Nolan’s movies

[GoPokes83 2,240]

Fantastic movie! But for the love of God man!!!

[Elvis 3,371]

Skipping imax for Flix for the food during the 3 hours. 9pm with my son. I guess he’s going to see some skin. 

[Parliament 14,258]

Not much.  We were misled.

[speed817 19,269]

42 minutes ago, Elvis said:

Skipping imax for Flix for the food during the 3 hours. 9pm with my son. I guess he’s going to see some skin. 

Gonna sneak in some banh mi for my IMAX showing....

[henrygandorf 29,190]

30 minutes ago, Parliament said:

Not much.  We were misled.

i avoided this thread after about july 10th and was amused at the thought that we'd be subject to 5-10 min of cillian's dong just because.

[Guest]

Pee-pee blinders

[RPM 26,320]

Just watched the PBS/BBC docudrama on Oppenheimer. Holy shit what they put that guy through.