Writer-director Christopher Nolan has created some of the most memorable cinematic moments: the effect of the near-permanent daylight on a LA detective in Insomnia; the slippage of time between places created by a wormhole in Interstellar; the three-action-sequences-at-once in Inception; and the backwards in time unwinding of the plot of Memento. What these all have in common is a concern with time and how it functions—through the duration of a film, on the characters, and on the audience.
Though I have come to think of Nolan’s films as having great ideas, if not always satisfactory stories (the love conquers time as central to the plot of Interstellar, for example, felt like a let down), I was still eager to see Dunkirk. That the film’s running time was an hour less than Interstellar also helped.
This time of year—after the Oscar nominations are announced and before they awards are given out—is often called by those in the movie press as a bleak time for new releases. Some say this is why the Jumanji reboot has been able to be the number one movie at the box office after so many weeks after its initial release.
But, living as I do in upstate New York, I’m not where most of the movie press lives—LA and NYC. Instead, I’m where most of the movie-going public lives. That means that for us this is the time when many of the prestige movies are finally available for us to see in a nearby theater. In fact, the closest theater to where I live, which is known for running independent and foreign films (the Spectrum 8 theater in Albany) is showing seven of the nine best picture nominees (Get Out and Dunkirk already played there) and I, Tonya (which is nominated for three Oscars—actress, supporting actress, and film editing).
Are you one of those people who tries to see all the best picture nominees before the awards are given out? If the snows hold off, and thanks to my local movie theater, I just might be able to do it. Join me on my journey.
Sure, the world-building could’ve been stronger (more on that later), and it would’ve been nice to see more of Jacoby’s back story, but there’s a lot of good in the movie. Great performances by Will Smith and Joel Edgerton, and, yes, that it is a loud, ungainly, expensive, bizarre buddy-cop movie. For an escapist flick, it is different and an altogether enjoyable ride.
What drives the story isn’t so much the buddy-cop angle with wondering if an Orc can get along as the first Orc in the Los Angeles Police Department; rather, it is the presence of terrorists, a rogue Elf, the hunt for a powerful wand, and the possible return of The Dark Lord. If you don’t think too much about it, and let the movie’s strangeness wash over you, it is a fine cinematic time.
The problem with the movie is that it is both too much and not enough. Perhaps this is a fault of marketing that foregrounded the Orc-Human buddy-cop angle, and not enough of how it is really a chase movie through a world that is both familiar and strange.
One man at the wheel
Wife, job, honor on the line
Such weight in his voice
Walk Hard (2007)
In this rocker’s storied life
Long live rock clichés!
The End of the Tour (2015)
Smart, talky guy flick
Drinking (or not), sex, suicide
— My wife hated it
The Hobbit: The Battle of the Five Armies (2014)
Thorin is a dick
Should anyone forgive him?
Bilbo needs a rest
20 Feet from Stardom (2013)
Risk it all in the spotlight
Very few shine on