Look at what it's fucking above, Citizen Kane, Princess Mononoke, Taxi Driver, To Kill A Mockingbird, 2001, Metropolis, Blade Runner, Network, what the bloody fuck?

A movie with THIS in it



is the 60th greatest movie of all time, better than Citizen Kane, CAN'T YOU TELL?

I hate nerds so fucking much, I swear to fucking god.

Ed Wood could compose shots better than Christopher Nolan can.

Actually that film was supposed to be a metaphor for boo boo being trolled by Rudy (coz boo boo normally trolls people you know the troll trolled lol joke explanation)

Holy shit that was way smarter than I could ficure - much love, Don

Killing her off at the time he did is fine. Killing off the other two early in the movie is just silly though.

Music is really, really good in the original too.

JAWS.

even as a nolan fan i'm appalled.

Nicely written and he overrates it to be sure, but I have no idea why people disliked that sequence so much. I felt it was executed beautifully and more in line with Hitchcock suspense a la The Man Who Knew Too Much crosscutting.

[youtube]http://www.youtube.com/watch?v=UsoYwysCdfY[/youtube]

Yeah, no, Nolan doesn't do justapositions well, that would require being able to capture both beauty and horror, neither of which Nolan can do because his style and aesthetic is way too damn dull for that, and he just can't direct action scenes for shit, well ok he did improve a lot with The Dark Knight, in which he realized that his bullshit fast editing and cross cutting close ups reduced all the action to an incomprehensble mess and people actually like knowing what the fuck they're looking at, showing he CAN learn from his mistakes, and yet having seen The Dark Knight Rises or as much of it as I care to see I can say pretty confidently that the relatively well done action scenes in TDK must have been a fucking fluke because TDKR's action scenes are just plain fucking clumsy, as is that entire movie, I can't stress enough how laughably bad that football scene is, it's Yakety Sax material.

Nolan makes big dumb hollywood movies that are trying to convince people they're smart movies, which would be fine except they're not even good by big dumb hollywood movie standards, they shouldn't even be rated above Independence Day, let alone Taxi Driver.

I'm not like George who hates all genre films and only watches films about Russian girls criticizing capitalism while masturbating on a humpback whale or whatever, lots of my favorite movies are genre films, and to be fair I don't completely hate Nolan, hell I thought The Prestige was pretty good, it was his last movie before going full on big budget hollywood guy and he just isn't fucking cut out for it at all, he tries directing big budget epic movies the same exact way he directs small scale psychological thrillers and it just doesn't fucking work.

I fucking loathe the Dark Knight trilogy, I hate damn near everything about those movies, even the performances from otherwise good actors (and also Christian Bale), and you know what I'm just going to say it, Ledger's Joker wasn't good either, in fact he was fucking terrible, we can admit that now right?

When you describe Nolan's action sequences you sound as if you're describing Michael Bay movies. I honestly don't get that impression. You can criticize TDKR for a lot of things, notably for being overlong, having a lousy script (although Bane has some nice lines, but that has probably more to do with his English accent), for Marion Cotillard's pointless character, but that scene wanta posted has none of the close-ups, jittery editing and lack of visual clarity you have been stressing, without actually telling us what is particularly clumsy about it. I find it pretty impressive, especially in that way it handles things happening in different places at once: you have Bane walking underground, policemen looking for him, the pitch, bridges exploding, future Robin in his car, all at the same time, and the sense of Bane's manoeuvres closing down on a whole city is rendered effectively with a good sense of rythm between each set-piece, a good sense of spacce, and the way Bane says "that's a lovely lovely voice" adds a nice little irony. And the pitch collapsing is a pretty awesome thing in itself. The boat scene in TDK was similar in this way, but here even more stuff is happening. Interstellar has some beautiful sequences. Yes so it explains the theory of relativity in a not so subtle way to the audience, yes so it has the line "love is the only thing that transcends time and space", but that very line encapsulates a certain boldness in its storytelling. How many movies have a guy plinging into a black hole? I think some scenes attained a sort of "mathematical-aesthetic" beauty, in its dealing with the infinite whilst retaining a human element (artifically? perhaps), that some of Borges' short stories have.

Inception was definitely pretending to be clever whereas it was just a succession of action sequences stringed together by half-baked dream theory (with the most uncreative and drab dream sequences ever put to the screen), but I don't think his Batman films are pretending to be that clever. Well-crafted pieces of cinema, with your traditional superhero themes plugging into post 9/11 trauma, yes. The difference with other films perhaps is that Nolan (because he's English perhaps?) seems to be more negative about American society, emphasizes its divisions and its hypocrisy instead of showing what a great united country it is (like Emmerich and Michael Bay often do). TDKR has a definite anarchic theme (if banks and prisons started to go down, lower classes will be out for a vengeance - the boat scene in TDK has a similar theme, the elite and the preterite and with all the simplifications and generalizations such a division can spawn), there is a certain cynicism in Nolan's films that differentiates them from other films of the same genre, a cynicism which may be easily mistaken for cleverness, because saying things and people are bad always seems cleverer and "bolder", and perhaps they are in a way (that said I haven't seen a whole lot of other recent superhero movies but didn't Nolan's films contribute to the kind of "is it really worth saving these people who don't deserve it" fashion?). You can criticize Nolan for trying to make a "realistic" superhero film instead of following the comic-book tradition that Burton was more respectful of, but I think it's interesting.

an accent implies that he pronounced words. Which he clearly didn't do.

wut

Actually I've rewatched a highlights reel of his lines and he is more coherent than I recall. I'll give you the accent. He sounds like a fruity (fruitier) Patrick Stewart after a largely liquid lunch.