But at times it seems as if the director has bitten off more than he can chew, as he wrestles with effectively trying to convey the villains’ evil plan. Until Dunkirk, it was his one film that could be called a war movie. It might be the most epic of Nolan’s three Batman entries. There’s plenty of great stuff here, from Anne Hathaway’s jaded, sassy Catwoman to some eye-popping action sequences. For anyone who’s been following Bruce Wayne’s efforts to try and make Gotham a better place, this is all quite heartbreaking to watch. That said, this one doesn’t get enough credit for how effectively it captures the hero’s feeling of helplessness - as the city’s bridges and buildings are leveled, its people pitted against one another, the very fabric of society ripped asunder. And yes, it was a huge hit, but how could it have been anything other than a disappointment after something like The Dark Knight? Nolan followed up the runaway worldwide success of The Dark Knight with a look at Batman brought low, his back broken by Bane (Tom Hardy) and thrown in a pit-prison where he’s forced to watch Gotham destroyed from afar. The somnambulant mood may be partly intentional, but it’s also wearying.
#Streaming insomnia 2002 movie#
But the movie is also, at times, dreadfully dull.
(He has said that in many ways this was the most important stepping-stone in his career, because it allowed him to ease into big-budget filmmaking.) Insomnia is impressive in many regards: Al Pacino is effectively haunted as the lead, and Robin Williams, at the time eagerly trying to shed his image as a cloying funnyman, is appropriately creepy and pathetic as the suspected murderer. This adaptation of the 1997 Norwegian crime thriller - about a troubled cop with a past who, while investigating a murder in small-town Alaska, accidentally kills his partner and then tries to cover up his crime - showed that the director could go from making low-budget indies to successful studio projects. But its technical limitations, combined with Nolan’s own inexperience, make it one of his weaker works. Anybody interested in the director’s films should check this one out. (Also, the lead thief’s name is Cobb, the same as the head thief in Inception). And the irony at the movie’s center - about a man who robs people to make them better appreciate their lives - is pure Nolan. Still, you can see the talent, and there are lots of fascinating elements here that would reemerge later: a nonlinear narrative, manipulative characters, a twist ending, the human psyche represented in material form. It does feel very much like a student effort: ambitious, awkward, bursting with ideas but often downright amateurish. Nolan’s ultra-low-budget 1998 directorial debut was cobbled together while he was working full-time, using available light and cheap film stock. Yes, this is something of a dangerous endeavor, given the fervency with which Nolan’s work is debated - by both his obsessive fans and his quite vocal detractors. So let’s take a look back over his career and figure out which of the director’s films were the masterpieces, and which ones were merely near-masterpieces. As a result, any ranking of his films is bound to wind up with at least a couple of amazing titles near the bottom that’s the kind of problem most directors wish they could have. Hold up! Before you go any further, know this: Christopher Nolan is an exceptional filmmaker who has made many great movies. So where does Oppenheimer actually fit in the director’s filmography? Of course, given the ambitious and obsessive nature with which he tackles all his projects, every Nolan film feels in its moment like the biggest one of his career. The long-awaited (and much-speculated-about) release of Oppenheimer is upon us, and the film seems like a major turning point for Christopher Nolan. This list has been updated with the release of Oppenheimer.
Photo-Illustration: Vulture Photos: Newmarket Films, Universal Pictures, Walt Disney Studios Motion Pictures, Warner Bros.
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