I saw Inception yesterday, and because I am who I am, I was already ranking it within Christopher Nolan's work before the movie was over. Below, my ranking based on 24 hours of reflection on Inception.
A couple of notes on this list: the first three movies all rank in my top 100 favorites, with #1 placing in the top 10 and #2 probably cracking the top 25. In parentheses at the end are the number of times I've seen each - I think this is important because repeat viewings of Inception will probably improve it for me. Obviously, this is your possible SPOILER ALERT.
1. Memento
I remember the first time I saw Memento. I sat on the edge of my seat, open-mouthed and tense, my eyes darting around the screen. When it was over, I sat back and thought about it for who knows how long. Then I watched it again, this time from the edge of the coffee table, about a foot away from the TV. Not a lot of movies prompt an immediate rewatch, but Memento blew my mind. I read about the option on certain versions of the DVD to watch the film in chronological order, but I don't think I would want to. The thrill of it is watching Leonard get closer to the truth while you know the clock is ticking away. The ratcheting tension works well to keep your mind focused on the details, which is essential; I'm sure there are a lot of parallels between Memento and Inception, which I'll have to revisit when I see the latter film again. Memento has three great performances from Guy Pearce, Joe Pantoliano and Carrie-Anne Moss, which only get better on repeat viewings. It's been a while since I saw it last and my opinion of what actually happened is solidifying in my mind, so it's probably about time I watched it again. The longer you wait, the more sure you are of what you understand about the film, but each viewing yields something a little different. I think it's a genuine classic. (4 times)
2. The Prestige
I would guess that my high ranking of this movie is where I differ from most other Nolan fans, although everyone I know who has seen the movie loved it so I may be wrong. I read the book it was based on and wasn't hugely impressed - I felt the author tipped his hand on the big twist way too early, and there was a framing device that I thought didn't work. However, Nolan managed to take that material and make a clever, entertaining and thrilling film. There are great performances throughout, but particularly from Rebecca Hall, David Bowie and Hugh Jackman. The high rewatch value of The Prestige doesn't come from scouring it again for clues - the ending is not as ambiguous as some others on the list - but from sheer enjoyment of a beautifully crafted film filled with skilled actors who are clearly having a great time. (6 times)
3. The Dark Knight
It's hard to talk about something that's already had so much said about it, but The Dark Knight is an amazing movie. Its crowning achievement is, of course, Heath Ledger's turn as the Joker. It's the kind of performance that makes you think, "I've never seen anyone do anything like this before." He was manic, hilarious, tragic and spellbinding. Completely deserving of the Oscar, and really, a performance that hopefully will go down in history as one of the best. As for the rest of the movie, it matches Ledger's intensity, and the other actors are all excellent. The make-up/special effects work on Aaron Eckhart (who is great in the part of Harvey Dent) is amazing, and all of the larger-scale effects are stunning. It's a comic book movie without the cheese, the immaturity and the pandering; it's bleak and kind of a downer, and I love that. The hero is not always heroic, he doesn't always get the girl (and wow, sometimes she doesn't make it at all - I really didn't expect that) and sacrifices have to be made for the greater good. I can't wait to see how Nolan finishes out the trilogy, but I don't want it to end. (once)
4. Inception
On the whole, I liked Inception. I had a weirdly muted reaction to it though, and I'm still trying to process why that is. The acting was across the board excellent - Leonardo DiCaprio and Marion Cotillard were especially good, and I thought Ellen Page and Tom Hardy were very impressive - so no complaints there. The effects, which we've glimpsed in trailers and stills, were spectacular. The plot... well, here's an issue. I understood the plot and I understood the basic physics of extraction, but the climax of the film hinges on the characters being kicked out of each level of the dream. Based on what we had seen so far and what I know about dreaming, I didn't understand the problem - wouldn't one kick from the base level of the dream work through all the levels to wake them up, instead of needing a series of kicks from every level? So there's one problem: the movie's world required a lot of explanation, and it's hard to balance that much exposition with enough action to stop the film dragging. I'm not sure the ratio was right - just a smidge too little explanation goes a long way in a film like this - but another viewing may clear that up. Another big stumbling block for me was, weirdly enough, Shutter Island. I saw it just a few weeks ago, and I was constantly reminded of the relationship between Teddy and Dolores (the ghostly visions, the mysterious death and the constant guilt) in the scenes between Dom and Mal. If DiCaprio hadn't been in both films, I probably wouldn't have even noticed a parallel, but he was so I did. I think the connection just took me out of the movie and broke my concentration, which didn't help because there was a lot of information to process. This is why I think I need to see Inception again when it comes out on DVD. That should be enough distance to judge it again on its own merits. (once)
5. Batman Begins
As an origin story, Batman Begins works really well. Christian Bale makes a very convincing Bruce Wayne - brooding and moody in private, but a charming playboy in public - and the tone captures the darker tone of the better Batman comics. Nolan does well to balance the heavy back story with a compelling villain, Scarecrow, who doesn't play a major role in the Batman canon (and the surprise reveal of a more compelling villain, R'as al Ghul, who does). To start with Batman battling the Joker, as Tim Burton did, feels too compressed - such an important villain needs more space to operate than an origin story can provide. Batman Begins works well in setting a tone and mood, introducing a well-developed hero (well, hero-ish) and a host of other key characters (good work too from Morgan Freeman, Michael Caine and Gary Oldman), and with the final reveal of the Joker card, starting a feverish anticipation for what promised to be an even more impressive sequel. (twice)6. Following
Of all seven of the films, this is the one that I could see being remade in 20 or so years. Visually, it doesn't feel idiosyncratically Nolan's; obviously the low budget comes into play there, and the inexperience (although that is not noticeable at all). Structurally, it's him to a tee. The film employs the same circular storytelling used in Memento and Inception, and once again, he's a few steps ahead of the viewer. I love trying to figure out a twist before the film arrives there, and if a writer manages to stump me, I have two possible reactions: either I feel cheated because the solution is unguessable, totally out of the logic and evidence of the film to that point, or it doubles my enjoyment of the picture because it was in front of me all the time. I find Nolan's films to be the latter; I love that I don't see the endings coming, yet they make perfect sense. The black and white cinematography helps in this film's twist ending. It's disorienting. The viewer is never quite sure of the day or time or chronology; all we have to go on is Bill's hair and wounds. For a first feature, it's very impressive, and I see why Nolan was given the chance to do more. One day, though, I can see another young filmmaker taking the dynamite plot and developing it further. (once)
7. Insomnia
Insomnia is definitely an enjoyable film - twisty and ambiguous enough to provoke plenty of thought and debate and of course, beautifully shot. Somehow, though, it doesn't fit with the rest of the films. I just did a quick IMDB search and confirmed what I already assumed: unlike every other film on the list, Nolan didn't write this one. I wonder if it's really that simple an explanation (my first thought was, "well, of course that's the problem." But we have no other evidence to prove or disprove this rule, so I can't be sure). One other issue I found: while Al Pacino gives a fine performance, I don't know if he's a good fit with Nolan. He always threatens to take over the picture, unlike Robin Williams or Hilary Swank, who fit better into the ensemble. I think Nolan's films require a balanced cast, and this one felt a little too focused on Pacino. (once)
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