Analysis: Whether dressed in jet black or Pepto-Bismol pink, audiences of both summer films bear witness to the corruption of men.
,” though the fantastical comedy stops short of detonation. The men of these pictures are haunted — by their limitations, their failings, their destructive tendencies. Only some of them get to move on.where Oppenheimer ends up, but the intrigue is in how he gets there. As played by Cillian Murphy, he starts off as a physics student who reacts to feelings of inadequacy by injecting cyanide into his professor’s apple.
When the U.S. military asks the theoretical physicist to lead fellow scientists in the secret development of nuclear weapons, he accepts out of determination to help end World War II. As Murphy’s wide eyes relay, the character doesn’t mind the promise of eventual glory, either. He celebrates the “technical success” of the Hiroshima and Nagasaki bombings, but later fills with remorse. Speaking to President Harry S. Truman, Oppenheimer admits to feeling as though he has “creation.
Barbie returns home to the rebranded Kendom, where her Dreamhouse has been converted into Ken’s hypermasculine Mojo Dojo Casa House. Gosling’s Ken leads the rest on a misguided quest for power and respect by diminishing the rights of the Barbies, who have been brainwashed into servitude. This is about as close as Gerwig gets to an insurrection in “Barbie,” which keeps hinting that she and co-writer Noah Baumbach had to work within the confines of a Mattel production. With more narrative freedom, the Kens might have ruled with more menace. Instead, the Barbies squash the coup by helping the Kens realize their worth isn’t contingent on outside approval. The Kens’ misdeeds are forgotten, their appeals for influence fulfilled with a few circuit court judge appointments.
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