In preparation for the release of Christopher Nolan’s highly anticipated and much ballyhooed Inception this Friday (stay tuned for a full report following the Thursday night 11:59pm advance showing I plan to attend), I decided to hold a mini-marathon here at the ‘Spin and take a look back on three of Nolan’s non-Gotham related works: Memento, Insomnia and The Prestige.
I make no apologies, and it should come as no surprise to anyone who knows me, that Nolan is one of my favorite working directors. It’s been uncanny how well he has been able to work within the mainstream studio system and deliver the type of dark, twisted, psychologically complex, crowd-pleasing and zeitgeist-tapping films people crave in the new millennium. It’s always interesting to do retrospectives of auteurs as you can witness over the course of a few nights the birth of their art, the refinement of their techniques and the emergence of their recurring themes.
Most film bloggers and critics raced against time and each other to get in their “Best Films of the Decade” lists after the clock struck midnight and we were suddenly thrust into Arthur C. Clarke’s…dun dun dun…TWO THOUSAND AND TEN. With the past decade so fresh on our minds, so many films yet to be seen or uncovered, so many to re-watch and re-examine, and the world-famous polling for this decade not to start until April over at Wonders in the Dark…it seems like there is still so much left to say about the 2000’s, or the Noughties as people like to call them now.
Yet all I can think of is one word.
Drainage, my boy!!!!!!!!!!
Looking back, the 2000’s were to my generation what the 1970’s were to my father’s. It seemed the dawn of a new golden age. Gone were the nostalgia tinted frames of the 1980’s and 1990’s and here was the first decade to exist completely within the context of my adulthood…under the harsh scrutiny of my ever-evolving critical eye. This was a decade where film reflected the big ideas, big dreams and previously unimaginable nightmares of the post-millennial, post 9/11 generation. Continue reading →
On Sunday February 22nd at the Oscars, Martin McDonagh will be competing for the Best Original Screenplay for In Bruges. For me, this was one of the most brilliant scripts in years–darkly comic, heartfelt and compelling, expertly paced and chock full of quotable lines. Sadly I don’t think it will win–oh, please prove me wrong, Academy–but it made think of all the great scripts from Hollywood’s past. What films were memorable not just for their imagery, but for the writing as well? What films contained amazing performances that were great because of the material the performers were given and the dialogue they spoke?
What screenplays are deserving of being considered the best of all time?