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.
Thank you to Charles Payseur at Quick Sip Reviews for taking the time to read my work and write about it. Very cool!
Quick snippet “strange and haunting” and “great”!
If you need more, here are some snippets from his review of “Instructions for Astronauts”:
This is a rather strange and haunting poem about humanity fleeing Earth in an attempt to survive, in an attempt to get to a different and better world, one unspoiled by our touch.
There is a strong religious element to the poem, all of the parts preceded by a biblical verse (save two) to set up how those sections read. These are the sections of the believers, of the grand hope for humanity. The renewal, the what-have-you. And I love that the poem sets itself up that way, with everything working and working toward this end, only to pull away at the ending …
This review first appeared in the Albany Times Union (August 11, 2001)
Hilarious, loving characters in ‘Honeymooners’
Chuck Kinder’s first novel since “The Silver Ghost,” in 1978, “Honeymooners: A Cautionary Tale” ($24; Farrar, Straus and Giroux; 358 pages), is a hilarious, yet unflinching, eyes-against-the-windshield journey through years of booze, drugs, sex, friendships, lies and betrayals in the lives of a pair of promising young writers.
The freewheeling 1970s that Kinder recreates, mostly in the San Francisco Bay area, belong within the literary tradition of the moveable feast Hemingway created out of Paris in the ’20s. Kinder’s writers, Ralph Crawford and Jim Stark, live “like bold outlaw authors on the lam from that gloomy tedium called ordinary life.” Kinder both celebrates and sends up their bravura and recklessness.