The film is gripping, but to be honest, the template that "the Russians are to blame for everything" has already gone a bit. Already a similar idea has been in dozens of films. It would be interesting if someone other than Russians and Latinos was to blame.

Challenger007 wrote: ↑

November 3rd, 2020, 4:52 am

The film is gripping, but to be honest, the template that "the Russians are to blame for everything" has already gone a bit. Already a similar idea has been in dozens of films. It would be interesting if someone other than Russians and Latinos was to blame.

Actually, this is one of the few Nolan film where there's anyone to blame other than the main hero Think of Memento, the Prestige, Insomnia, Inception or The Dark Knight - even if there are villain figures planted in those, it usually turns out that the conflict arises from within the heroes' character in a way, so...

I know what you meant, but I wanted to point this out anyway

Saw for a second time this weekend. Couple things...
Cons
1. The beginning feels too fast paced. The characters are given so much information it hardly gives the audience time to dissect or breath. Not sure if it’s editing(later I think the editing is great)or just insisting on cramming too much jumping from location to location to get information. Maybe cutting some stuff would have helped

2. The sound mix is just plain and simply not good. Saw it in a different theatre and it wasn’t that loud at all, however the dialogue was still muffled. Which can be frustrating when there is important exposition being given.

3. The villains motivation could have been better imo. It’s pretty much I’m going to die so I’m taking everything down with me.

Pros
4. The performances are Good/excellent. Second time watching everyone is on the same wavelength, and motivations are more clear, which makes for a more emotionally engaging experience.

5. The action is outstanding all around. From the fights, to the mind-blowing final act. Once you understand what the goal is the final battle truly is jaw-dropping. This to me is the best action Nolan has ever directed.

6. The score is excellent, it fits the movie very well. The effects are seemless. Practical mixed with visual effects are some of what you’d expect from this team. Also Inversion is awesome. And I think they do as well as you can to make that tangible to an audience. Once we hit the blue/red rooms, this movie soars imo.

Like I thought before this movie is in no way perfect it’s flawed, heavily in some places, it’s not top half of Nolan for me, however it’s so endlessly entertaining to watch, and marvel at how they pulled it off.While I hope Nolan scales down a bit going forward, I really think I will rewatch this movie more than some of his “better movies.”

Frankthetank wrote: ↑

November 3rd, 2020, 6:11 pm

3. The villains motivation could have been better imo. It’s pretty much I’m going to die so I’m taking everything down with me.

This isn't going to make anything better, but I think it was more so the fact that he could gave him this great god-like power that he was also willing to exercise for his future brethren. Remember, they made him everything he was at that point: the money, the fame/infamy, and essentially the power. He felt the need and obligation to return, saw in their eyes what they saw, and acted on that.

You have to remember that he only became terminal long after he began his excavations (and it's because of them that he became it). Yes, he had a selfish attitude after that for sure that took center stage, but that was neither the sole nor initial reason to begin with. He is the protagonist of his own story, really.

MuffinMcFluffin wrote: ↑

November 3rd, 2020, 8:12 pm

Frankthetank wrote: ↑

November 3rd, 2020, 6:11 pm

3. The villains motivation could have been better imo. It’s pretty much I’m going to die so I’m taking everything down with me.

This isn't going to make anything better, but I think it was more so the fact that he could gave him this great god-like power that he was also willing to exercise for his future brethren. Remember, they made him everything he was at that point: the money, the fame/infamy, and essentially the power. He felt the need and obligation to return, saw in their eyes what they saw, and acted on that.

You have to remember that he only became terminal long after he began his excavations (and it's because of them that he became it). Yes, he had a selfish attitude after that for sure that took center stage, but that was neither the sole nor initial reason to begin with. He is the protagonist of his own story, really.

Never thought of that. I guess I didn’t think to in-depth as to who he might have been prior to this movie, I just took his actions on the surface.

I actually wonder if Sator is the character most personal to Nolan himself, someone who's "ran out of time" and losing the woman he loves all at once, trying to wipe the slate clean out of hubris and anger.


-Vader

Vader182 wrote: ↑

November 3rd, 2020, 8:57 pm

I actually wonder if Sator is the character most personal to Nolan himself, someone who's "ran out of time" and losing the woman he loves all at once, trying to wipe the slate clean out of hubris and anger.


-Vader

We call that a simp

Frankthetank wrote: ↑

November 3rd, 2020, 8:47 pm

MuffinMcFluffin wrote: ↑

November 3rd, 2020, 8:12 pm

Frankthetank wrote: ↑

November 3rd, 2020, 6:11 pm

3. The villains motivation could have been better imo. It’s pretty much I’m going to die so I’m taking everything down with me.

This isn't going to make anything better, but I think it was more so the fact that he could gave him this great god-like power that he was also willing to exercise for his future brethren. Remember, they made him everything he was at that point: the money, the fame/infamy, and essentially the power. He felt the need and obligation to return, saw in their eyes what they saw, and acted on that.

You have to remember that he only became terminal long after he began his excavations (and it's because of them that he became it). Yes, he had a selfish attitude after that for sure that took center stage, but that was neither the sole nor initial reason to begin with. He is the protagonist of his own story, really.

Never thought of that. I guess I didn’t think to in-depth as to who he might have been prior to this movie, I just took his actions on the surface.

I mean, I don't think that's too in-depth, and that's the point. He's just a little power-hungry is all, I guess.

All I'm stating is his initial motivation wasn't because he was dying.

KEM wrote: ↑

November 3rd, 2020, 9:07 pm

Vader182 wrote: ↑

November 3rd, 2020, 8:57 pm

I actually wonder if Sator is the character most personal to Nolan himself, someone who's "ran out of time" and losing the woman he loves all at once, trying to wipe the slate clean out of hubris and anger.


-Vader

We call that a simp

I actually think the Protagonist is more of a simp, considering he risked so much to save her life.

DHOPW42 wrote: ↑

November 3rd, 2020, 12:54 pm

Challenger007 wrote: ↑

November 3rd, 2020, 4:52 am

The film is gripping, but to be honest, the template that "the Russians are to blame for everything" has already gone a bit. Already a similar idea has been in dozens of films. It would be interesting if someone other than Russians and Latinos was to blame.

Actually, this is one of the few Nolan film where there's anyone to blame other than the main hero Think of Memento, the Prestige, Insomnia, Inception or The Dark Knight - even if there are villain figures planted in those, it usually turns out that the conflict arises from within the heroes' character in a way, so...

I know what you meant, but I wanted to point this out anyway

You're right. This is not typical for Nolan, but if we take it in the context of world cinema, then this stamp has been used more than a dozen times.