Tag Archives: christopher nolan

‘Dunkirk’ a non-stop adventure

From the first frame of “Dunkirk”, the action doesn’t stop until the film’s conclusion. Just under two hours long, the film is a breathtaking war story that never lets its foot off the gas pedal.

400,000 soldiers are stranded off the coast of France in Dunkirk, their home of England visible just over the channel, but they can’t get there. German planes are picking them off on flybys and the enemy army is steadily advancing in on them. The film follows three sets of characters; one set on land, led by young Tommy (Fion Whitehead) trying to survive on the beach, one in the air, led by Farrier (Tom Hardy) trying to protect the troops on the ground from German aircraft, and one coming in from the sea, a commercial yacht piloted by Mr. Dawson (Mark Rylance), tasked with trying to rescue the troops. Commander Bolton (Kenneth Branagh) on the beach overlooks the entire operation with despair and yet a slim ray of hope; perhaps rescue will come from home.

Written and directed by Christopher Nolan, the film is a tale of tension rather than carnage. It is rated PG-13 so the blood and massacre of other war films is not as omnipresent or visual. This is rather a story of avoiding that horror.

Time plays a central element in the narrative, always seemingly ticking in the background. The time of the incoming tide, characters constantly checking their watches, Farrier’s declining fuel supply in his fighter jet; all tick by over the course of the story. This ratchets up the tension as we clock down to the possible annihilation of our heroes.

The film really puts you in the situation. Through the wide and precise cinematography and deafening sound (it may be the loudest movie I’ve ever seen), the war and dread come to life. Everything in the film appears shockingly real. Though we know there are visual effects, they are hard to point out in comparison to so many other films who blatantly use CGI, but in a way that points to the effect being man made.

The story is relatively simple, and there are seemingly barely 50 lines of dialogue in the whole film. It is really more about story told through action, and the film keeps going at full-speed the entire time, barely letting the audience catch their breath. This is both well-done and a bit overdone.

The film is not so much about war, but about determination, representative of the defiant British spirit. It is a story of perseverance in the face of slim odds, told in grand yet intimate scale. The three different storylines intersect at the conclusion in a grand rescue that gives meaning to Winston Churchill’s famous “We shall fight on the beaches” speech.

The Best 25 Movies of the Last 25 Years Part 2

Link to Part One

17. The Social Network (2010)

The finely tuned tandem of director David Fincher and writer Aaron Sorkin create a fascinating examination of the dawn of social media with “The Social Network.” Swirling testosterone mixed with betrayal and the potential of billions of dollars combines to alter the lives of Mark Zuckerberg (Jesse Eisenberg), Eduardo Saverin (Andrew Garfield) and Sean Parker (Justin Timberlake) in ways none of them can imagine as their project, Facebook, shoots off to become a phenomenon the world has never seen before.

16. No Country for Old Men (2007)

A masterpiece of cinematic craft, the Coen brothers create a folk tale from Cormac McCarthy’s source novel. When Llewellyn Moss (Josh Brolin) discovers a bag full of money after a drug deal goes wrong, he runs off, initating a cat and mouse chase that features one of the greatest villains of the modern era in Anton Chigurh (Javier Bardem). Tommy Lee Jones plays the cop chasing the whole situation and who realizes the depths of carnage in the world around him. It is a brilliant examination of violence and the harm it does not just to the perpetrators and victims, but the soul of every man in the community.

15. 12 Years a Slave (2013)

Hollywood had never really made an honest look into the slave trade until Steve McQueen’s immersive “12 Years a Slave”, a film that brought home the horrors of slavery and the crushing weight of its history. Solomon Northrup (Chiwetel Ejiofor) is a free man kidnapped by a couple of journeymen and sold into Southern slavery. His journey takes him across two plantations, one run by a semi-decent man (Benedict Cumberbatch) and one by a sadist (Michael Fassbender). A reminder of the pain and disgrace of slavery in United States history, the film examines how the act of slavery is not just a restriction of freedom, but a perversion of basic human decency.

14. Toy Story 2 (1999)

Perhaps no company has defined the past 25 years more than Pixar. Using ground-breaking CGI technology, the original “Toy Story” changed not only animation, but all filmmaking. The fact that it is a great film is an added bonus. But it is with “Toy Story 2” that Pixar officially became a cinematic powerhouse, with a film that added to the first film’s heart, humor and durability. When toy Woody (Tom Hanks) is stolen by a toy store owner who will sell him to a foreign collector, the rest of the gang (Buzz (Tim Allen), Mr. Potato Head (Don Rickles), Rex (Wallace Shawn) and Slinky Dog (Jim Varney)) will team together and venture out to save him. It is the story of Jessie (Joan Cusack) however that steals the heart of the viewer, a cowgirl toy abandoned by her owner and unsure if she can ever love again. A story about friendship and youth, all the “Toy Story” films are remembered by the child in each of us.

13. Groundhog Day (1993)

A modern day Frank Capra film, “Groundhog Day” takes a comedy premise (What if you lived the same day over and over again?) and imbues it with a deeper quest about life’s purpose and the value of love and community. Phil Connors (Bill Murray) is a grumpy weatherman sent to Punxatawney to cover the annual Groundhog Day ceremony. Phil can’t leave however because he keeps living that same day over and over again. As he falls in love with his producer, Rita (Andie MacDowell), Phil must cope with his seemingly hopeless situation as it drives him to near-insanity. Perhaps Bill Murray’s finest performance, he and director/writer Harold Ramis craft a film that simultaneously makes the viewer laugh, think and love all at the same time.

12. A Separation (2011)

Asghar Farhadi’s “A Separation” is a brilliant interpersonal drama about gender, marriage, responsibility and truth. Nader (Peyman Moaadi) and his wife, Simin (Leila Hatami) are trying to secure a divorce because he doesn’t want to leave the country due to his ailing father while she does. He hires a housekeeper, Razieh (Sareh Bayat), but when Nader’s father nearly dies when he is out, he blames her for negligence and attacks her. As events spiral out of control, the viewer can’t help but think of the state of the globe and the changing dynamics of old world versus new world in it.

11. Spirited Away (2001)

Hayao Miyazaki has been at the forefront of Japanese animation for the past quarter century and perhaps no film of his Studio Ghibli has been more admired than “Spirited Away.” Chihiro (Rumi Hiiragi) and her parents are moving to their new home when her father takes a wrong turn while driving, and they enter a magical world. When her parents are turned into pigs, it’s up to Chihiro to navigate the mystical land and find the help she needs to save her family and return to the normal world. The film is among the most creatively inspired movies ever made with breathtaking images and a moving story seemingly taken out of mythology.

10. The Lord of the Rings Trilogy (2001-2003)

Perhaps the greatest trilogy ever made, Peter Jackson’s “The Lord of the Rings” is a composition of everything we love about cinema: big, adventurous, thrilling and heartfelt. In the land of Middle-Earth, young hobbit Frodo (Elijah Wood) is given the ring of power. He must destroy the ring before it falls into the hands of its master, Sauron, who will use it to enslave the world. With a fellowship to guide him, his journey takes him across the world as war breaks out among the kingdoms of the land. The trilogy brought writing, acting and special effects together in a way that may be unequaled, and it has become a beloved piece of cinema history.

9. The Dark Knight (2008)

Boldly asserting a new type of superhero film, Christopher Nolan’s “The Dark Knight” incorporated many of the lingering feelings of the post-9/11 world into its narrative. Batman (Christian Bale) joins forces with Lt. Gordon (Gary Oldman) and new D.A. Harvey Dent (Aaron Eckhart) to bring down the mob plaguing Gotham city, but the Joker (Health Ledger) emerges from the darkness, threatening their hopes and pushing each of them to their limit. Heath Ledger’s defining performance as the Joker gives the film edginess and charisma, and the encompassing idea of heroism and what that means makes “The Dark Knight” the greatest superhero film ever made.

Part 3

‘Interstellar’ gets most of it right

What are the limits of mankind’s ingenuity? Can we understand the forces that exist in the universe? Is our capacity to feel love quantifiable in the vastness of space and time?

Christopher Nolan’s Interstellar examines not only our role in the cosmos, but how our emotions influence science and vice versa. It tells the story of Cooper (Matthew McConaughey), a former astronaut who has been forced to become a farmer like everyone else since the world’s problems (climate change, overpopulation) have rendered the globe a wasteland. He has to leave his home and his daughter, Murph (played by Mackenzie Foy, Jessica Chastain, and Ellen Burstyn as time fluctuates), to go on a last-chance-for-mankind space mission to discover another planet for humanity to live on. Organized by Professor Brand (Michael Caine), the crew consists of his daughter (Anne Hathaway) as well as a couple of others.


The film is really an exploration into the bond of parent-child and how much that bond can be tested over the course a lifetime. Through wormholes and gravity-induced time suppressing, Cooper tests his own limits and must decide which is more important: the immediate love of his family or the future of the human race. It is an interesting dilemma (even if it is just an expanded episode of Lost in Space), but one that is unnecessarily hammered into the viewer rather than allowed to develop naturally. The story is also bogged down by unnecessary explanation of scientific theory (similar to Nolan’s issue in Inception (2010)), slowing the pace of the story and expanding the runtime (the film clocking in at almost three hours). Rather than try to explain every little detail of fifth-dimension travel and time-space continuum, the film should just let the actions of the characters and the environment speak for themselves. A common problem across cinema today is filmmakers not trusting the audience to just go along with the ride, thinking that everything needs to be explained in order for the viewer to appreciate the story. Just showing the action and letting the audience come to their own conclusions rewards our ingenuity and keeps the plot moving.
Though clunky at times and confusing at others, the film is emotionally resonant and never lacks in dramatic tension after a ponderous opening act. One of the criticisms often levied against Nolan’s films is that they are cold and detached, a critique often hurled at Kubrick as well, neither of them true. Nolan counters those naysayers with his latest offering, with McConaughey letting the tears flow and showing his agonizing struggle, perhaps too much at times.
The emotional core relationship between him and Murphy keeps all the other elements in check, providing the audience with something to hold onto. Even though it becomes somewhat overdone and soap opera-ish at times, without it, the stunning visuals would go nowhere. This is the same structure that Nolan has used throughout his career, firmly establishing a core emotional struggle (giving hope to the people of Gotham in The Dark Knight (2008), rectifying Cobb’s guilt in Inception, figuring out the identity of the killer in Memento (2001)) that grounds the film even as elements of the story become incoherent and confusing.

Though one of his weakest entries in some years, for those audience members who appreciate Nolan’s efforts, the film will be a satisfying space journey about a man trying to save the human race and his family. For those who can not get past the gaps in logic and somewhat pedestrian dialogue that have become common in his work, this is an adventure best left unexplored. For this viewer, the good outweighs the hokey.