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Such is the filmmaking style of Christopher Nolan that months and even years after one of his films grace the silver screen, moviegoers and critics alike will continue to deliberate theories as they slowly peel back the layers. Movies like Memento, Inception, and, more recently, Interstellar are labyrinthine greats that effectively demand a second viewing in order to truly appreciate their depth and scope (to figure out what the bloody hell is going on, basically).
But one Nolan film that was met with similar critique was The Dark Knight Rises, and star Christian Bale was recently asked about his own interpretation of the trilogy’s conclusion. Warning, therein lies spoilers:
The British actor was asked the question during a recent panel for his upcoming sword and sandals epic, Exodus: Gods and Kings and it is, for all intents and purposes, the dominant reading of Nolan’s trilogy-capper.
For the sake of context, »
- Michael Briers
From the most recent Interstellar to Inception, Memento, and even The Dark Knight series, Christopher Nolan has a knack for creating incredible, mind-bending movies that are difficult to compete with. Though he has touched the superhero world with his take on the caped crusader, Batman, Nolan.s trilogy is nothing like any other superhero movies to date. Nolan movies have a very distinct style to them, they make the viewer think in ways many other films can not, especially Marvel movies. In a recent episode of The Colbert Report, the always hilarious Stephen Colbert sat down with Christopher Nolan to discuss Interstellar and Nolan.s tendency to do more with movies than just entertain. Colbert starts his interview asking Nolan why he wants the viewer to think so much. Colbert compares Interstellar to the recent Marvel blockbuster stating, "When the movie is over, I.m still thinking about the movie, »
Christopher Nolan has a knack for making movies that are hard to get your head around. Memento, Inception, and now Interstellar all left audiences scratching their heads, and it seems none more so than Stephen Colbert. Interstellar, of course, stars Matthew McConaughey as an astronaut leading a team of scientists into deep space with the hopes of finding a habitable planet to call home. It has become one of the year's most nitpicked and debated films, from the sound mix to the science, audiences have enjoyed scrutinizing every element of the film. Earlier this week Nolan dropped by The Colbert Report to promote Interstellar and Colbert took the opportunity to take him to task for his resume of mind-bending movies. Obviously we all know that in reality Colbert is an extremely intelligent man who likely understands these subjects pretty damn well, but if there's anything more enjoyable than watching Colbert play dumb, »
- Haleigh Foutch
If Christopher Nolan’s emotional plots don’t strike you, his elaborate design choices will on some level. He’s a guy who decided he needed to build all of Gotham City’s "The Narrows" on a stage, thought to put a ornate hotel hallway on a gimbal, and built a full-scale spaceship with windows displaying actual scenic black hole shots. He’s a crazyman when it comes to realizing his vision, and for that, the Art Directors Guild is praising him this awards season. The Art Directors Guild (Adg) announced late Wednesday that Christopher Nolan will receive the prestigious Cinematic Imagery Award from the at its 19th Annual Art Directors Guild’s Excellence in Production Design Awards. Comedian Owen Benjamin will host the ceremony, set for January 31, 2015. According to the Adg’s, the Cinematic Imagery Award is "given to those whose body of work in the film industry has »
- Matt Patches
Nolan will be presented the award at the organization’s 19th Annual Excellence in Production Design Awards event at the Beverly Hilton Hotel on Jan. 31.
The award is given to those whose body of work has “richly enhanced the visual aspects of the movie-going experience.” Previous recipients include Martin Scorsese, Warren Beatty, Clint Eastwood, Norman Jewison, John Lasseter, George Lucas, Steven Spielberg and Blake Edwards.
“Christopher Nolan.’s body of work reflects a clear appreciation for the contribution Production Design brings to the stories he brings to life,” said Adg Council Chairman John Shaffner and Awards Producers Dave Blass and James Pearse Connelly.
“His creative legacy is quite remarkable and it demonstrates a great love and respect for our visual medium. The teams of designers and craftspeople that he continues to bring »
- Dave McNary
Variety has chosen its 10 Directors to Watch for 2015, selecting cinematic storytellers who hail from corners as far removed as Australia and Argentina, representing a diverse mix of genres and visions, but all of whom are expected to go on to great things in Hollywood and abroad.
Study the group and you’ll find a total of 12 names listed, as two of the entries are actually tandem talents: brother-sister pair Shlomi and Ronit Elkabetz, who helmed Israel’s official foreign-language Oscar submission, and indie duo Justin Benson and Aaron Moorhead, friends who met while interning for Ridley Scott’s commercial company.
The 10 Directors to Watch are:
Sean Baker (“Tangerine”) Justin Benson & Aaron Moorhead (“Spring”) Ava DuVernay (“Selma”) Shlomi Elkabetz & Ronit Elkabetz (“Gett, the Trial of Viviane Amsalem”) Jeremy Garelick (“The Wedding Ringer”) Dan Gilroy (“Nightcrawler”) Marielle Heller (“Diary of a Teenage Girl”) Ruben Ostlund (“Force Majeure”) Damian Szifron (“Wild Tales”) Leigh Whannell »
- Variety Staff
Christopher Priest isn't too keen on Christopher Nolan's blockbusters. Indeed, the author of The Prestige, which Nolan adapted into a 2006 film starring Hugh Jackman and Christian Bale as feuding magicians, didn't hold back in describing the wildly successful Dark Knight Trilogy as "boring and pretentious," and his other works outside of Memento and The Prestige as "shallow and badly written" and "embarrassing." In a video interview with French movie site Skript, Priest talked at length about his best-selling novel, but inevitably got on to the subject of Nolan's adaptation and his feelings on Nolan's other works. Priest's
- Abid Rahman
Murder mysteries are so commonplace on TV that each week offers seemingly dozens of them on police procedural series and detective shows. But in the movies, whodunits are surprisingly rare, and really good ones rarer still. There's really only a handful of movies that excel in offering the viewer the pleasure of solving the crime along with a charismatic sleuth, often with an all-star cast of suspects hamming it up as they try not to appear guilty.
One of the best was "Murder on the Orient Express," released 40 years ago this week, on November 24, 1974. Like many films adapted from Agatha Christie novels, this one featured an eccentric but meticulous investigator (in this case, Albert Finney as Belgian epicure Hercule Poirot), a glamorous and claustrophobic setting (here, the famous luxury train from Istanbul to Paris), and a tricky murder plot with an outrageous solution. The film won an Oscar for passenger »
- Gary Susman
With Christopher Nolan's "Interstellar" now in cinemas, it has prompted many to look back and assess (or re-assess) the director's body of work so far (check out our ranking of his films right here). And while critics and audiences have had their say, there hasn't been much word from others touched by Nolan's moviemaking, but in what is sure to spur talk all over again, "The Prestige" author Christopher Priest has candidly weighed in on Nolan's filmography in a recent chat with Skript. Priest discusses the genesis of Nolan's adaptation of his book, noting that Sam Mendes, coming off "American Beauty," had circled it first, but that the author believed instead in supporting rising talent. And his gamble paid off, with the author declaring "The Prestige," along with "Memento," as Nolan's finest films. But when it gets to the Batman movies, Priest doesn't hold back. "It's a wrong move »
- Kevin Jagernauth
The writer described Nolan's Dark Knight trilogy as "boring and pretentious", adding that films like The Avengers and Iron Man are more "fun".
Ranking all 9 of Christopher Nolan's movies from worst to best
Priest told Skript.fr: "I've only ever had one meeting with him, when the film was finished. Because I wasn't very interested in him. We all have different points of view on the world. To the world he's this great, innovative filmmaker; to me, he was a kid who wanted to get into Hollywood."
"I don't like his other work, I think it's shallow and badly written. I've got kids who like superheroes, »
If we go back before the huge success of The Dark Knight (2008) and the media-hyped excitement of The Dark Knight Rises (2012), there still lives a pure gem from Christopher Nolan in the shape of Batman Begins (2005).
Tim Burton’s Batman (1989) and Batman Returns (1992) brought our cave and mansion dwelling hero to the big screen in a way no-one had ever expected and those two movies, very specifically, still stand up to the endlessly changeable tests of time. When Joel Schumacher took up the reigns for the likes of Batman Forever (1995) and Batman & Robin (1997), none of us ever thought that the Bat-man would make such an ambitious return some years later when Christopher Nolan turned up with an absolute game-changer for both his back catalogue and the superhero film industry.
Batman Begins remains one of the best of the last 11 years with a truly tremendous origin story that’s swathed in truth, »
- Dan Bullock
Christopher Nolan's second film, Memento, is a hard movie to describe and sound sane. The events in Memento are shown backwards and forwards at the same time (sounds insane, right?). The Sundance Channel did a making of documentary called "Anatomy Of A Scene." It's 24 minutes long, and if you haven't seen the movie, stop and don't watch this video. It's jam-packed with spoilers.
Memento has a methodically created structure and narrative. The film is the best example of the Nolan brothers' writing skills and Christopher's editing prowess. With all the big budget films that Christopher Nolan has been creating over the last decade or so, I wonder if he can still tell a smaller story.
- Free Reyes
Whether you love him or hate him, filmmaker Christopher Nolan has continued to find new ways to challenge his audience, and paradigms of filmmaking as a whole, throughout his remarkable career. His breakout hit Memento shattered audiences' expectations of a traditional narrative story, while The Dark Knight trilogy redefined the superhero genre in ways nobody even knew they wanted, until they saw it with their very eyes. Inception proved that one does not need to induce hallucinogenic drugs to get the head trip of a lifetime, and even his more straight-forward films like Insomnia and The Prestige are exceptionally bold. Regardless of what you might think of his latest offering Interstellar, most will likely agree that Christopher Nolan has outdone himself, offering truly outstanding visuals coupled with a mind-shattering narrative that still has filmgoers talking weeks after opening day.
With all that being said, Interstellar, all 169 minutes of it, isn't »
These days, Christopher Nolan is known for his big-budget, tentpole spectacles. “The Dark Knight” trilogy. “Inception.” "Interstellar.” But we can’t forget the director’s much smaller, more indie pedigree. While Nolan’s first film, “Following” didn’t do much business at all, it put him on the map, and he seized the opportunity with “Memento." Told “backwards,” the film stars Guy Pearce as Leonard, a man with no short-term memory on a quest to find his wife’s murderer. To keep track of the clues he unearths, he tattoos vital information on his body. The film bucked convention, jumping chronologically, alternating black and white with color, and depicting many scenes in reverse, so that audiences saw the end first, and then watched events unfold that led there. If you're a fan of the film, this Sundance Channel "Anatomy Of A Scene" documentary on the making of the movie is worth a watch. »
- Zach Hollwedel
Gavin Logan on what’s next for Christopher Nolan…
Last weekend saw the worldwide release of Christopher Nolan’s latest and perhaps one of his most widely anticipated movies to date Interstellar starring Matthew McConaughey as a former Nasa pilot turned corn farmer who is tasked with helping to save the human race from extinction. Like most Nolan movies it was met with an explicit reaction and critical dissection from critics and fans alike. The one word that kept popping up in various reviews and opinion pieces was “ambitious”, and I can see why. It’s the perfect way to describe Interstellar.
This isn’t a review (you can read those here and here) so I won’t go into the laborious and intricate details of the movie or why it did or didn’t work for me but one thing is for sure, you can’t go any bigger »
- Gavin Logan
Though there are plenty of people out there who have some discrepancies with Christopher Nolan's sci-fi drama Interstellar, one of the more unanimous points of praise has been for the block robot Tars and his colleague Case, both of which assist Matthew McConaughey on his mission to save the planet. The robots are fitted with incredible artificial intelligence which allows them to have a sense of humor and even a judge of how honest to be (though it's all regulated by the astronauts themselves). Well, Vulture liked the robots so much that they imagined what it might be like if Tars was a movie star, and it's great. Look now! Here are the posters for some of the biggest movies Tars has starred in before Interstellar: See a couple more of these faux movie posters starring Tars over at Vulture right here. Interstellar is directed by British filmmaker Christopher Nolan, »
- Ethan Anderton
If Christopher Nolan is not the most popular, talented, influential or even interesting director working today, then he is certainly the most important.
The release of a Christopher Nolan movie, even one that “underperforms” at the box office like this week’s Interstellar, is by far the most fervently talked about work of art for several news cycles. Even in the face of constant barrages of Taylor Swift headlines, Nolan’s work is intensely debated and scrutinized in a way no other filmmaker receives for even one film, let alone all of them.
In fact, the wild, ranting, nitpick-y plot hole posts that were previously confined to IMDb message boards have this week migrated to real entertainment news sites. This one found 21 things that didn’t make sense about Interstellar, this one made objections to the science and plot on the whole, and this one found only 13. For whatever reason, »
- Brian Welk
Directed by Christopher Nolan
A group of explorers make use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.
Film: the final frontier. These are the voyages of the starship celluloid. It’s mission: to survive amongst the ever-growing digital age around it, to boldly go where many have gone before, but few venture to anymore. It’s strange to think that the filmmaking that got us to this very point in cinema history is close to extinction, but perhaps not as quickly as some think, especially if the director of Inception, Memento and The Dark Knight Trilogy gets his way. Interstellar, his latest multi-layered, multi-million dollar epic takes us to the »
- Scott J. Davis
Christopher Nolan’s Interstellar, whose title alone in reference to the director’s name equals cinematic moxie, has the makings of a filmmaker putting his direction, vision and ideas to the test, where a running time of 169 minutes set in milieus that rocket from one plane of existence to the titular other — the interstellar, infinite void — becomes a creative challenge, which every director, who thinks as big as Nolan does, at some point in their careers confront.
Blockbuster directors, all of whom auteurs in one way or another, like the late great pioneer Georges Méliès, the aquatically keen James Cameron, the master of lens flares Michael Bay, the attentively adjusted Riddley Scott, the perfectionist Stanley Kubrick, or the wondrously curious Steven Spielberg have all communed with — or taken the trip to — the cosmological land, all with different results.
Most certainly, it is a place not only of sublimity, but, more importantly, »
- Fiman Jafari
Time is a precious resource in Christopher Nolan’s most personal (i.e., non-bat-related) films, and time rarely ever runs in a linear, straightforward fashion. In Memento, time is split between a receding past and a stagnant present that changes the shape of knowledge and memory with every revelation it produces. In Inception, time is collapsed upon itself many times over, with a singular moment in one tier of consciousness extending to a multiplied time scale in others. Interstellar perhaps presents his most tortured relationship to the movement of time, wherein time is relative yet deeply consequential depending on your orientation with the cosmos, and must therefore be approached strategically. Your experience of time in Interstellar is hardly universal. It depends very much on where you are. While the film’s genre-entry depiction of the procession of time is intended as a rumination on relativity, black holes and the like, as »
- Landon Palmer
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