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The psychological drama gets a bit lost in the upward rush, like a dream before an awakening. That’s likely due to the misfortune of it being sandwiched between Memento, his breakout feature, and Batman Begins, which brought the Caped Crusader back to the multiplex for the first time in eight years and announced Nolan’s transition into the big leagues. In some ways, Insomnia feels like the least essential of Nolan’s filmography. Nolan fans today may not recognize the low-budget, low-stakes and self-contained nature of Following, but it’s a good reminder of what quality filmmakers can do when forced to make do with the little they have at their disposal.
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There are rough edges, for sure, and it doesn’t exactly benefit from multiple viewings, but the movie does mark Nolan’s official arrival. Perhaps it’s not surprising that such a technically focused and methodical director’s résumé would be so defined by obsession, but it’s genuinely thrilling and nerve-wracking to see it work here in such a downplayed manner. He also, whether intentionally or not, puts forth a thesis statement for the rest of his career: his obsession with obsession. Still, in just 70 minutes, Nolan is able to accomplish what many filmmakers cannot in 120. It’s cleverly low-fi in its execution, but somewhat sterile in its feeling.
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Like some of his other work, there’s a cold detachment from the proceedings. While the plotting, style and patented twist ending all deliver, the movie doesn’t quite match the eerie potential of similar paranoid thrillers such as Darren Aronofsky’s Pi or even Nolan’s own Insomnia.