This is what a fledgling auteur makes when they're young and bored and on the verge of becoming a major film director on the intelligent end of the mainstream. "Why do we fall, sir? " The first entry in Nolan's dark and brooding batrilogy often gets forgotten in conversations about Heath Ledger's take on the Joker or the ending of The Dark Knight Rises.
The final part of Nolan’s Batman trilogy was always going to struggle to live up to its predecessor but is gripping from the off— in a frenetic plane-hijacking sequence that was released in its entirety before the film actually came out as highly effective marketing material.
As in Memento, Nolan adopts an unusual structure: The film is split into three sections set on land, sea, and air, playing out over a week, a day, and an hour, respectively, as hundreds of thousands of British troops await evacuation during a fraught moment of the Second World War.
The Dark Knight, released in 2008, helped define the next 10 years of blockbuster cinema—setting in motion a sequence of gritty comic book reboots that shows no sign of abating.
Sure the Hans Zimmer score and exposition in smart suits have been memed to death over the decade since its release, but Nolan's first take on a slick James Bond–like adventure is not just successful in its narrative heists, it's still damn entertaining too.
A noir thriller like Insomnia but with added twists and tricks—well one major one—it sees Guy Pearce playing an insurance "investigator"' with ante-retrograde amnesia and a dead wife: In place of memories he has cryptic tattoos and notes that he leaves for himself to decipher in order to track down her killer.