
Todd Phillips' directorial musical psychological thriller film Joker: Folie a Deux received a standing ovation at the 81st Venice International Film Festival. It was a moment of pride for the ace director and the film stars, Joaquin Phoenix and Lady Gaga, according to The Hollywood Reporter.
Joaquin Phoenix and Lady Gaga with director Todd Phillips, who last appeared on the lido with Joker five years ago, winning the festival's Golden Lion award, were congratulated by an ecstatic theatre crowd at the Sala Grande, receiving an incredible 10.5-minute standing ovation.
Venice 2024: Pedro Almodóvar’s ‘The Room Next Door’ gets the longest standing ovation at festival so far at nearly 20 minutes
Throughout the ovation, the audience occasionally erupted in yells of "Ga-ga, Ga-ga, Ga-ga!" During interruptions in the chants, others exclaimed, "Gaga, we love you!". The actor-singer thanked and blew kisses to fans when she wasn't being made to giggle by her co-star throughout the applause.
The first Joker was a huge success, both critically and commercially. It was nominated for 11 Oscars, with Joaquin Phoenix winning Best Actor and Hildur Gudnadottir winning for Original Score. It became the highest-grossing R-rated movie ever.
Phoenix reprises his role as Joker in the sequel, and Lady Gaga joins as Harley Quinn. The supporting cast includes Brendan Gleeson, Catherine Keener, Jacob Lofland, and Harry Lawtey. Zazie Beetz returns as Sophie from the first film. The sequel is said to be a musical, building on Phoenix's dancing scenes from the original. The first instalment earned over 1 billion dollars at the worldwide box office and bagged Phoenix a best actor Oscar.
Phillips shared during the press conference ahead of the premiere that "it feels correct" to be back in Venice debuting his sequel, but he conceded that making the follow-up made him "more nervous."
"It's a lot easier to come into something as an insurgent than it is as the incumbent," he said. "There's definitely a sense of more nervousness with this second one." Gaga plays Lee, who eventually becomes Harley Quinn, a patient in Arkham State Hospital, a mental institution where Phoenix's Arthur Fleck is a maximum-security inmate. When Arthur, who is awaiting trial for the murder of five people, joins a music therapy group, they quickly develop a romantic relationship. Lee recognises Arthur as the Joker and attempts to reawaken his alter-ego.
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"Sophie Dumond (Zazie Beetz), Arthur's neighbor in Joker, makes a brief appearance when the character is brought in as a witness for the prosecution team led by young assistant district attorney Harvey Dent (Harry Lawtey) before his villainous alter ego Two-Face shows up," according to The Hollywood Reporter.
Phillips and Phoenix shared that they had agreed, that if they did return for a sequel, "it had to feel audacious and like we were really swinging for the fences," according to the director.
They asked themselves, "Could we make something unexpected like the first one even though it's a sequel?"
The mega-successful pop artist described working with her fellow actor as "a breeze." She shared with the media, "I actually really enjoyed it, and it was a completely different experience than I've ever had with another actor. He's incredibly loose and free."
When asked about their weight loss for the film, Phoenix declined to say exactly how many pounds he lost. "It felt a bit more difficult, but it is safe. But you're right, I'm now 49, I probably shouldn't do this again. This is probably it for me," before saying to his co-star: "We did rehearsals, and we left for a month and came back and you'd lost a lot of weight, it was really impressive."
Gaga added, "We fed (Joaquin) blueberries when he was hungry," according to The Hollywood Reporter
Joker: Folie a Deux releases on October 4.
I started watching *Monkey Man* knowing only that Dev Patel, known for *The Green Knight*, played the lead role, and that it promised action sequences reminiscent of *John Wick*. I was pleasantly surprised to learn, by the time the credits rolled, that Patel also directed the film and Jordan Peele (*Get Out*, *Nope*) served as one of the producers. There’s something exciting about going into a movie blind, allowing discoveries like these to be revealed along the way. Patel portrays a character known as Kid/Bobby/Monkey Man, who is set on avenging his mother’s death at the hands of corrupt elites who not only killed her but also destroyed his home.
To set realistic expectations, *Monkey Man* has two major action sequences—lengthy ones—but it’s not the adrenaline-fueled ride one might expect from a movie marketed in the vein of *John Wick*. Let's clarify: while the movie takes inspiration from that franchise, it’s not a non-stop action fest. In fact, the film even references *John Wick* directly, but unfortunately, this comparison works against *Monkey Man* rather than enhancing it.
For those unfamiliar with *John Wick*, the franchise is renowned for its relentless, skillfully executed action, emphasizing the prowess of stunt performers and fighters in a way that showcases their talents with cinematic flair. The action is often stylish but carefully designed to highlight the choreography, avoiding shaky camera movements or rapid cuts that can obscure the physical feats. By contrast, *Monkey Man* doesn’t quite capture that same energy. Each fight scene is full of abrupt cuts, and the camera dives so close into the action that it feels invasive. Combined with shaky, blurry shots, even when the action is in focus, it’s hard to see what’s actually happening. While this technique may have been an intentional attempt to pull viewers into the chaos, it only occasionally pays off. The result is a series of sequences that seem more disjointed than dynamic, often hiding rather than enhancing the action.
That said, where *Monkey Man* excels is in the setup leading up to these action scenes. The film's primary setting is an exclusive club with multiple levels, each more elite than the last, where Kid’s revenge targets reside. The first act of the film skillfully showcases Kid’s gradual ascent through these levels, as he meticulously plans his retaliation. The film masterfully builds anticipation for the impending showdown, making the moments in between the action just as compelling.
The Mumbai backdrop also gives *Monkey Man* a fresh feel, making the city more than just a setting but almost a character itself, in stark contrast to the forest from which Kid originates. It’s in these quieter moments, exploring the city, where the camera work shines, offering some stunning and intriguing shots. It’s a shame the same visual care wasn’t carried over into the action sequences.
Most films in this genre don’t delve too deeply into thematic messages, with audiences often tuning in for the fight scenes alone. However, *Monkey Man* aims to be more than just an action movie. The film touches on issues like corruption, deforestation, and human trafficking, but its deeper message is rooted in Hindu mythology, particularly the story of Hanuman. Kid and his mother worship Hanuman, the inspiration behind his Monkey Man persona. Like the deity, Kid embarks on a journey of self-discovery, meeting an outcast community of trans warriors known as the hijra, who help him realize who he truly is—a more assured killer.
The broader theme of the film centers around transforming personal ambition into a force for good. While this idea is admirable, the execution falls short. Kid undergoes an internal transformation, but the outcome of his journey remains largely unchanged. His newfound identity aligns conveniently with his original quest for revenge, allowing him to pursue his goals without compromising his loyalty to his new hijra family.
Identity struggles are something we can all relate to on some level. For those wrestling with this, here's a word of advice: don’t let society, your emotions, or even others define who you are. Our culture often lacks our best interests at heart, and feelings, while useful, can be misleading. The only one who truly knows who you are is the one who created you. God made you with intention and purpose. As it says in Psalm 139, you were not a mistake; you were carefully crafted. Jeremiah 29:11 reminds us that God has plans for us—plans for good and hope, not for harm.
In conclusion, *Monkey Man* is a solid action film, though its strength lies more in the moments between the fights than in the fights themselves. The shaky, close-up camera work detracts from the action sequences, but the film still stands as a labor of love with more substance than your typical action flick.
I started watching *Monkey Man* knowing only that Dev Patel, known for *The Green Knight*, played the lead role, and that it promised action sequences reminiscent of *John Wick*. I was pleasantly surprised to learn, by the time the credits rolled, that Patel also directed the film and Jordan Peele (*Get Out*, *Nope*) served as one of the producers. There’s something exciting about going into a movie blind, allowing discoveries like these to be revealed along the way. Patel portrays a character known as Kid/Bobby/Monkey Man, who is set on avenging his mother’s death at the hands of corrupt elites who not only killed her but also destroyed his home.
To set realistic expectations, *Monkey Man* has two major action sequences—lengthy ones—but it’s not the adrenaline-fueled ride one might expect from a movie marketed in the vein of *John Wick*. Let's clarify: while the movie takes inspiration from that franchise, it’s not a non-stop action fest. In fact, the film even references *John Wick* directly, but unfortunately, this comparison works against *Monkey Man* rather than enhancing it.
For those unfamiliar with *John Wick*, the franchise is renowned for its relentless, skillfully executed action, emphasizing the prowess of stunt performers and fighters in a way that showcases their talents with cinematic flair. The action is often stylish but carefully designed to highlight the choreography, avoiding shaky camera movements or rapid cuts that can obscure the physical feats. By contrast, *Monkey Man* doesn’t quite capture that same energy. Each fight scene is full of abrupt cuts, and the camera dives so close into the action that it feels invasive. Combined with shaky, blurry shots, even when the action is in focus, it’s hard to see what’s actually happening. While this technique may have been an intentional attempt to pull viewers into the chaos, it only occasionally pays off. The result is a series of sequences that seem more disjointed than dynamic, often hiding rather than enhancing the action.
That said, where *Monkey Man* excels is in the setup leading up to these action scenes. The film's primary setting is an exclusive club with multiple levels, each more elite than the last, where Kid’s revenge targets reside. The first act of the film skillfully showcases Kid’s gradual ascent through these levels, as he meticulously plans his retaliation. The film masterfully builds anticipation for the impending showdown, making the moments in between the action just as compelling.
The Mumbai backdrop also gives *Monkey Man* a fresh feel, making the city more than just a setting but almost a character itself, in stark contrast to the forest from which Kid originates. It’s in these quieter moments, exploring the city, where the camera work shines, offering some stunning and intriguing shots. It’s a shame the same visual care wasn’t carried over into the action sequences.
Most films in this genre don’t delve too deeply into thematic messages, with audiences often tuning in for the fight scenes alone. However, *Monkey Man* aims to be more than just an action movie. The film touches on issues like corruption, deforestation, and human trafficking, but its deeper message is rooted in Hindu mythology, particularly the story of Hanuman. Kid and his mother worship Hanuman, the inspiration behind his Monkey Man persona. Like the deity, Kid embarks on a journey of self-discovery, meeting an outcast community of trans warriors known as the hijra, who help him realize who he truly is—a more assured killer.
The broader theme of the film centers around transforming personal ambition into a force for good. While this idea is admirable, the execution falls short. Kid undergoes an internal transformation, but the outcome of his journey remains largely unchanged. His newfound identity aligns conveniently with his original quest for revenge, allowing him to pursue his goals without compromising his loyalty to his new hijra family.
Identity struggles are something we can all relate to on some level. For those wrestling with this, here's a word of advice: don’t let society, your emotions, or even others define who you are. Our culture often lacks our best interests at heart, and feelings, while useful, can be misleading. The only one who truly knows who you are is the one who created you. God made you with intention and purpose. As it says in Psalm 139, you were not a mistake; you were carefully crafted. Jeremiah 29:11 reminds us that God has plans for us—plans for good and hope, not for harm.
In conclusion, *Monkey Man* is a solid action film, though its strength lies more in the moments between the fights than in the fights themselves. The shaky, close-up camera work detracts from the action sequences, but the film still stands as a labor of love with more substance than your typical action flick.
Hello everyone, and welcome to Media Musings! For once, I am not late to something coming out! But this movie was timed pretty perfectly for me to see it and make a blog post about it in the same week.
Honestly, my experience with this franchise repeated itself again here. Back when the first Inside Out came out, I was mildly interested, but not sure how I entirely felt about it. Eventually though, I watched a few old trailers of the movie and became interested. So, I got the movie’s DVD and realized it was far better than my expectations set out.
When the second Inside Out’s trailer released, I was on the fence about whether or not to see it. It seemed almost a bit cringe-filled with the puberty jokes and whatnot. But then, I realized that Pixar’s marketing barely reflects the true quality of their movies, and this movie could have the potential to have a real emotional core with their audience. But just in case, I waited until the initial reviews came out. When almost everyone agreed on it being really good, I immediately planned to go see the movie in theaters. Now I have, and I don’t regret it in the slightest.
Even though I knew Inside Out 2 might have some clever themes in place, this really surprised me nonetheless. I’m so impressed with how it turned out, and I think it’s one of the best Pixar sequels out there. There was next to no bad moments, and everything wrapped up really neatly. Let’s go into a little more detail, shall we?
Also, no spoilers here! Especially because I want people to see it. Go see it as soon as possible, I demand you!
First, a very simple synopsis, one that people can probably get from just watching a trailer or two. Riley’s a teenager now, and everything’s great. Except not really, because puberty starts. Everything gets wrecked, and four emotions suddenly appear: Anxiety, Envy, Embarrassment, and Ennui (boredom). Also technically Nostalgia, but she’s only used for a quick gag. The new emotions eventually decide, however, that the old emotions aren’t needed anymore, and banishes them from headquarters. So, the old emotions have to get back before the new emotions change Riley forever.
Now that we’ve got that settled, let’s talk a bit about the parts of the story I liked, without going into spoilers.
The base concept of this movie really seems like it’s similar to the first movie. It does certainly hold some elements from the first, but this movie also knows how to tackle fresh topics, places, and conflicts. There are less unique places this time around, though of course there’s the occasional location centered around a pun. Classic Inside Out humor. For the most part, this movie is focused around the characters rather than the places. It makes this work pretty well.
Speaking of, the characters are much better this time around. Especially the more background ones. Anger, Fear, and Disgust did not have much to do in the first movie, mostly feeling like the afterthought. Here, they do much more, and most of them feel layered. Joy and Sadness are as good as ever, Joy even feeling more developed and grown here. Just as a main character in a sequel should be.
Most of the new emotions are pretty good too, filling their own role in the movie. Envy and Ennui left a little to be desired, but they were pretty much always meant to be Anxiety’s supporters. None of them feel too annoying, either. With such an ensemble cast, this movie feels like it would be crowded or pushes characters to the side, but it’s really good at the focus balancing act.
Oh, and did I mention Riley’s better too? Though more time in the mind is sacrificed, Riley’s new screentime is worth it. Last time, she really felt like some sort of puppet by the emotions, which in some cases was true. But here, she feels like her own person, with the emotions just assisting with some of her actions. It really feels like Riley is more than just the emotions, though of course, they help a lot with some of her choices.
Also, Riley’s conflict blends so seamlessly with the emotions’. There were times in the movie where I wondered in places how this related to Riley. In this movie, nearly everything in the mind is some sort of metaphor to how Riley, and real people in these situations, would think. Even the old emotions being kicked out makes a lot of sense with Riley’s situation of trying to change herself. Anxiety taking over is incredibly accurate to many people too, with all the flaws in between.
The few problems I have with this movie are really tiny nitpicks. Joy’s character arc can sometimes feel a little mismatched, and the lesson of this movie could have used a tiny bit more support. I can’t supply any more detail here, but know that these are pretty small. They really didn’t take away from the movie for me.
Finally, let’s discuss the characters! Mainly the emotions and, wow, there are 9 of them to talk about now? I might have to make their descriptions brief.
We’ll start with the old emotions, the ones that have been in Riley’s head since the first movie. Joy is the most developed and has an extremely wide range of emotions, ironically. She’s basically the protagonist here. Sadness has less focus here, though you can tell she’s really formed a friendship with Joy. Also, she gets her own sideplot in the movie, so that’s fun. Anger has some incredible jokes and expressions, though he gets a fair share of calm moments. Sometimes, he even acts as a supporter of the group. Disgust actually gets a decent amount of attention here, especially in her interactions with other characters. Not much to say about her though. And finally, Fear. He’s probably the most minor of the group, though he’s probably the funniest of the five.
Now, we move to the new group. Envy is pretty interesting. A lot of people have debated about whether she’s actually envious or not. Honestly, she’s more of an Anxiety supporter, but that’s fine with me. Embarrassment actually does more than I thought he would in this movie, and he’s probably the second-most interesting. Ennui is really minor, but the few interactions she has are funny or interesting. And finally, Anxiety is by far the most important. I’d even say she has more focus than Joy does. Anxiety is extremely accurate to the actual emotion. Though she’s an antagonist, she has good intentions, even if her ideas can spiral out of control. She’s probably my favorite character in this movie as well.
Overall, Inside Out 2 is really good. I haven’t seen a Pixar movie so good in a long time, and I hope they keep the quality up in the future. I’ll give this movie a 9/10. See you guys next time!
Surely, a new Transformers movie paired with a Linkin Park resurgence in the same year, cannot be chalked down to coincidence? Is the universe plotting a comeback tour for our collective nostalgia?
Nearly 40 years since Hasbro first rolled out the first Autobots and Decepticons, Transformers One — the first animated franchise outing since 1986’s ‘The Transformers: The Movie’ — ambitiously rewinds the gears to their origin that roars to life like an operatic tale of betrayal, class struggle, and the tragedy of friendship undone. After years of the franchise being bogged down by Michael Bay’s heavy-handed, explosion-laden spectacles, Josh Cooley (of Toy Story 4 fame) steps in to steer the ship back to its mythological origins.
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Transformers One trades the earthbound chaos of previous installments for a return to Cybertron, a world that’s part Orwellian dystopia, part retro-futuristic dreamscape. Sam Witwicky and the gang of self-righteous humans aren’t around to spoil the frame anymore — just a roster of robots reeling from a brutal war with the Quintessons. Cooley and his team of screenwriters (Eric Pearson, Andrew Barrer, and Gabriel Ferrari) take the liberty of digging deep into the mythos of Hasbro’s toy trunk, brushing off familiar tropes with just enough flair to make them feel fresh again.
Transformers One (English)
Director: Josh Cooley
Cast: Chris Hemsworth, Brian Tyree Henry, Keegan Michael-Key, Scarlett Johansson, John Hamm
Runtime: 104 minutes
Storyline: Brothers-in-arms Orion Pax and D-16 become sworn enemies Optimus Prime and Megatron
The narrative narrows in on the nascent relationship between Orion Pax (the future Optimus Prime) and D-16 (soon to be Megatron). Their storied friendship, filled with the innocence and vigor of youth, is the emotional core of the film, charting their rise from lowly miners to the leaders of rival factions.
A still from ‘Transformers One’
A still from ‘Transformers One’ | Photo Credit: Hasbro Entertainement
Chris Hemsworth’s portrayal of Orion is a revelation — a bright-eyed idealist with a bit of a reckless streak, who goes from a mischievous youth to a stoic leader, burdened by the weight of responsibility. Opposite him, Brian Tyree Henry’s D-16 is a ticking time bomb of insecurity and ambition, a character who seems both fated for greatness and consumed by the bitterness that accompanies it.
There’s a lightness in the early moments between Orion and D-16, an almost teenage recklessness that feels tender. And yet, there’s a palpable sense of tragedy waiting in the wings. The inevitable fracture between these two characters carries the weight of their myth; when the bond finally shatters, it feels as though the world might divorce itself with them.
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The core conflict revolves around the social hierarchy on Cybertron, a world where those with “cogs” — the literal mechanisms that allow transformation — lord over the poor cog-less bots, who toil in mines for dwindling supplies of Energon, unaware that they have been deliberately stifled. If the imagery sounds heavy-handed, it is, but it’s precisely this earnestness that injects new life into a franchise whose previous entries often buckled under the weight of their own spectacle. There’s a sense of injustice bubbling beneath the surface — a parable about oppression, wrapped in colorful, metallic action sequences and some hilarious moments of levity from Keegan-Michael Key’s Bumblebee.
Cooley keeps the tone breezy but never lightweight. His direction finds a delicate balance between nostalgia and novelty, wrapping the lore in vibrant animation that doesn’t lean too hard on photorealism. Gone are the hyper-detailed, overwhelming designs of Bay’s films, replaced by sleeker, more emotive versions of the Cybertronians. Industrial Light & Magic have outdone themselves, creating a visually rich world that brims with life, and yet, it’s the quieter moments — the lingering shots of Cybertron’s gorgeous surface or the intimate exchanges between Orion and D-16 — that give the film its heart.
A still from ‘Transformers One’
A still from ‘Transformers One’ | Photo Credit: Hasbro Entertainement
The film’s pacing, however, leaves something to be desired. Transformers One moves with a breakneck speed that doesn’t always allow its emotional beats to land as deeply as they should. The first act, in particular, rushes through the world-building with such efficiency that it risks feeling perfunctory. Yet, even with its rushed moments, the film’s Shakespearean central conflict of ambition, betrayal, and regret somehow shine through.
Where these metal titans have waged explosive battles for decades, it’s easy to forget that the Transformers saga started with a simple premise: toys... but toys with — “I am Optimus Prime” gravitas. Cooley approaches the material with a reverence for storytelling that elevates it beyond its toy-selling commercial trappings. This is a film that, for the first time in a long time, seems genuinely interested in the mythology of its characters, who, until now, have been trapped in a cycle of mindless action and explosions.
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Transformers One may not be the most groundbreaking animated film ever made, but it is, without a doubt, one of the most thoughtful entries in a franchise that has often been synonymous with excess. If the Transformers were ever in danger of becoming relics of a bygone era, this film proves that they still have plenty of fuel in the tank. There is more to them than meets the eye.
Todd Phillips' directorial musical psychological thriller film Joker: Folie a Deux received a standing ovation at the 81st Venice International Film Festival. It was a moment of pride for the ace director and the film stars, Joaquin Phoenix and Lady Gaga, according to The Hollywood Reporter.
Joaquin Phoenix and Lady Gaga with director Todd Phillips, who last appeared on the lido with Joker five years ago, winning the festival's Golden Lion award, were congratulated by an ecstatic theatre crowd at the Sala Grande, receiving an incredible 10.5-minute standing ovation.
Venice 2024: Pedro Almodóvar’s ‘The Room Next Door’ gets the longest standing ovation at festival so far at nearly 20 minutes
Throughout the ovation, the audience occasionally erupted in yells of "Ga-ga, Ga-ga, Ga-ga!" During interruptions in the chants, others exclaimed, "Gaga, we love you!". The actor-singer thanked and blew kisses to fans when she wasn't being made to giggle by her co-star throughout the applause.
The first Joker was a huge success, both critically and commercially. It was nominated for 11 Oscars, with Joaquin Phoenix winning Best Actor and Hildur Gudnadottir winning for Original Score. It became the highest-grossing R-rated movie ever.
Phoenix reprises his role as Joker in the sequel, and Lady Gaga joins as Harley Quinn. The supporting cast includes Brendan Gleeson, Catherine Keener, Jacob Lofland, and Harry Lawtey. Zazie Beetz returns as Sophie from the first film. The sequel is said to be a musical, building on Phoenix's dancing scenes from the original. The first instalment earned over 1 billion dollars at the worldwide box office and bagged Phoenix a best actor Oscar.
Phillips shared during the press conference ahead of the premiere that "it feels correct" to be back in Venice debuting his sequel, but he conceded that making the follow-up made him "more nervous."
"It's a lot easier to come into something as an insurgent than it is as the incumbent," he said. "There's definitely a sense of more nervousness with this second one." Gaga plays Lee, who eventually becomes Harley Quinn, a patient in Arkham State Hospital, a mental institution where Phoenix's Arthur Fleck is a maximum-security inmate. When Arthur, who is awaiting trial for the murder of five people, joins a music therapy group, they quickly develop a romantic relationship. Lee recognises Arthur as the Joker and attempts to reawaken his alter-ego.
Todd Haynes’ new movie no longer in development after Joaquin Phoenix’s exit
"Sophie Dumond (Zazie Beetz), Arthur's neighbor in Joker, makes a brief appearance when the character is brought in as a witness for the prosecution team led by young assistant district attorney Harvey Dent (Harry Lawtey) before his villainous alter ego Two-Face shows up," according to The Hollywood Reporter.
Phillips and Phoenix shared that they had agreed, that if they did return for a sequel, "it had to feel audacious and like we were really swinging for the fences," according to the director.
They asked themselves, "Could we make something unexpected like the first one even though it's a sequel?"
The mega-successful pop artist described working with her fellow actor as "a breeze." She shared with the media, "I actually really enjoyed it, and it was a completely different experience than I've ever had with another actor. He's incredibly loose and free."
When asked about their weight loss for the film, Phoenix declined to say exactly how many pounds he lost. "It felt a bit more difficult, but it is safe. But you're right, I'm now 49, I probably shouldn't do this again. This is probably it for me," before saying to his co-star: "We did rehearsals, and we left for a month and came back and you'd lost a lot of weight, it was really impressive."
Gaga added, "We fed (Joaquin) blueberries when he was hungry," according to The Hollywood Reporter
Joker: Folie a Deux releases on October 4.
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Oppenheimer is an upcoming Christopher Nolan biopic based on the 2005 book American Prometheus by Kai Bird and Martin J. Sherwin. In the film, Cillian Murphy portrays American theoretical physicist J. Robert Oppenheimer, who is considered the "Father of the Atomic Bomb" for his role in the Manhattan Project, the World War II project that developed the first nuclear weapons with lasting power. . The cast includes Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Rami Malek, Benny Safdie, Michael Angarano, Josh Hartnett and Kenneth Branagh. It is the property of Universal Pictures, Syncopy Inc. co-production and Atlas Entertainment, where Nolan produced the film with Emma Thomas and Charles Roven. Oppenheimer Full Movie Download in hindi
Title | Oppenheimer |
Available On | ------ |
Running Time | 2h 30m |
Released Date | July 21, 2023 (UK) |
Language | English and others |
Director | Christopher Nolan |
Movie Type | Drama/War |
Nolan was announced to write and direct a biopic about J. Robert Oppenheimer set during World War II. Universal Pictures was selected as the distributor in September 2021. Most of the main characters were signed between September 2021 and April 2022. Production was underway in January 2022, with filming beginning in late February 2022 and ending in May. It was shot in a combination of IMAX 65mm and 65mm large format film - including elements of IMAX black and white analogue photography for the first time. Like his previous work, Nolan made extensive use of practical effects and minimal computer-generated imagery. Oppenheimer Full Movie Download in hindi
Universal Pictures will release Oppenheimer in the UK and US on July 21, 2023. It is Nolan's first film to be released by Warner Bros. Pictures has not been distributed domestically or internationally since Memento (2000).