• Following Us

  • Categories

  • Check out the Archives









  • Awards & Nominations

305. Batman Begins – Batman Day 2022 (#126)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guests Alex Towers and Phil Bagnall, The 250 is a weekly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users. New episodes are released Saturdays at 6pm GMT.

So this week, Christopher Nolan’s Batman Begins.

Following the death of his parents, billionaire Bruce Wayne finds himself struggling for a way to make sense of the world. Studying under the mysterious Ra’s Al Ghul, Wayne vows to devote his life to a war on crime itself. However, on returning home to Gotham, Bruce very quickly discovers that something very sinister has taken root in his home city.

At time of recording, it was ranked 126th on the list of the best movies of all time on the Internet Movie Database.

Continue reading

New Podcast! The Spookies Podcast – “The Dark Knight And The Joker “

I was thrilled to be invited to join the wonderful Michael and Stephanie Black for an episode of their new podcast, The Spookies Podcast.

It was a fun conversation, in which I got to chat a little bit about The Dark Knight, one of my favourite blockbusters ever. The nominal topic of the conversation was the Joker himself, but it was a broad and wide-ranging discussion that ended up touching on everything from modern fandom to Christopher Nolan to the state of modern auteurism. I hope you enjoy.

You can listen directly to the episode below or by clicking here.

New Escapist Column! On Christopher Nolan’s Deal at Universal…

I published a new column at The Escapist today. With the news that Christopher Nolan will be making his next movie at Universal, there was some extreme internet reaction to the deal that Nolan signed.

The overblown and performative online outrage is interesting, and says a lot about the internet’s strange obsession with Christopher Nolan as the only director who really gets to make personal projects at this level. Indeed, the most interesting thing about the internet outrage was how ill-informed it was. Nolan’s terms aren’t especially unusual in the world of directors working at that level. Nolan’s deal is similar to those struck with directors like Steven Spielberg, Quentin Tarantino or even Tyler Perry. It is business as usual.

You can read the piece here, or click the picture below.

“A Goya? In a Harrods Bag?” “TENET” and the Nightmares of Late Capitalism…

This week, the podcast that I co-host, The 250, celebrated its 250th episode with a conversation about Christopher Nolan’s TENET. I had some additional thoughts on the film.

TENET is a film about many things.

It is a movie about the idea that the future will not only judge us, it will condemn us. It is a movie about the importance of faith and mortality in a world that frequently seems to exist beyond basic human comprehension. It is a movie about time, and how there is no escaping or evading it. TENET is one of the most ambitious mainstream American blockbusters of the twenty-first century, with its fractured narrative reflecting the chaos of the time in which it was produced.

However, TENET is also a film about the nightmare of late capitalist excess. It is the story about wealth and power, and how things insulate and isolate those who hold it. It is something of a cliché to suggest that power and privilege protect the wealthy from the laws of men, from the consequences of their action – that civil and criminal laws bend to those with with enough money. TENET follows that idea to its logical conclusion, suggesting a world in which the laws of physics themselves bend to those with enough power.

TENET is a biting piece of social commentary that reflects a profoundly broken world.

Continue reading

(—#) TENET .052

.TMG mp6 ta yadrutaS yreve desaeler era sedosipe weN .sresU esabataD eivoM tenretnI yb rof detov sa ,edam reve seivom )tsrow dna( tseb eht fo emos hguorht pirt ylkeew (yltsom) a si 052 ehT yenooM nerraD dna nniuQ werdnA yb detsoH

.TENET s’naloN rehpotsirhC ,edosipe ht052 ruo gnikram ,emit sihT

.sbarg rof pu si swonk eh skniht oreh eht taht gnihtyrevE .degnahc evah selur eht dna ,labolg era sekats eht ,peed nur seiretsym ehT .dlrow wen yleritne na ni pu sekaw evitarepo na ,gnorw ylbirret seog eniarkU ni noissim trevoc a nehW

.esabataD eivoM tenretnI eht no emit lla fo seivom tseb eht fo tsil eht no deknar ton saw ti ,gnidrocer fo emit tA

Continue reading

New Escapist Column! On the Tenets of TENET…

I published a new In the Frame piece at The Escapist this evening. With TENET now on streaming, it seemed like a good time to dive into the film’s position within Christopher Nolan’s filmography.

Most discussions of Nolan’s filmography focus on the director’s obsession with time, and TENET makes sense in that context. However, the film also ties into more existential anxieties that simmer through Nolan’s body of work, in particular the question of reality actually is and how best to respond to a world that can fundamentally chaotic, hostile and unknowable. TENET deals this this theme, confronting its audience and its characters with a reality that appears to be unraveling.

You can read the piece here, or click the picture below.

 

228. Interstellar (#29)

Hosted by Andrew Quinn and Darren Mooney, and this week with special guest Andy Hazel, The 250 is a fortnightly trip through some of the best (and worst) movies ever made, as voted for by Internet Movie Database Users.

This time, Christopher Nolan’s Interstellar.

Cooper is a former astronaut who has resigned himself to life on a farm, raising his two children Tom and Murph. However, when the fates align to send Cooper back out into space, he finds himself faced with the terrible choice to leave his kids behind with no idea of when – or even if – he might return.

At time of recording, it was ranked the 29th best movie of all time on the Internet Movie Database.

Continue reading

New Escapist Video! On “WandaVision” and the Death of Ambiguity…

So, as I have mentioned before, I am launching a new video series as a companion piece to In the Frame at The Escapist. The video will typically launch with every second Monday article, and be released on the magazine’s YouTube channel the following week. This is kinda cool, because we’re helping relaunch the magazine’s film channel – so if you can throw a subscription our way, it would mean a lot.

This week, following the end of WandaVision, it seemed like an appropriate time to take a look at what the show said about contemporary pop culture, in particular the show’s approach to its “mystery box” format and its insistence on explaining every ambiguity without any willingness to leave space for interpretation. It’s a big, ambitious video essay that looks at everything from Lost to Twin Peaks to The X-Files to Doctor Who, and I hope you enjoy.

New Escapist Video! On How Christopher Nolan Became the Internet’s Villain…

So, as I have mentioned before, I am launching a new video series as a companion piece to In the Frame at The Escapist. The video will typically launch with the Monday article, and be released on the magazine’s YouTube channel the following week. This is kinda cool, because we’re helping relaunch the magazine’s film channel – so if you can throw a subscription our way, it would mean a lot.

There’s been an interesting shift in the past decade. Christopher Nolan was once a filmmaker who was generally well-liked by the internet, but in recent years has been increasingly vilified. This transition is interesting, in large part because of what it says about larger trends in pop culture and how audiences approach pop culture.

New Escapist Column! On How Christopher Nolan Became the Internet’s Villain…

I published a new In the Frame piece at The Escapist this evening. Last week, the cinematic wold was shaken by the announcement that Warner Bros. would be releasing their entire cinematic slate day-and-date on HBO Max. This drew a lot of discussion and debate, but also demonstrating one of the internet’s weird cinematic fault lines: the strong hatred of director Christopher Nolan.

Nolan is one of the most interesting directors working the day. He is the last director who can approach a major studio with an original idea and secure hundreds of millions of dollars to realise it with minimal interference. In his early career, Nolan was a critical and internet darling, with a strong online following. However, since around 2012, Nolan has become a figure of a vocal and persistent derision online, much of which is anchored in the portrayal of the director as an old-fashioned auteur with a distinct sensibility.

This hatred of Nolan – which seems to bubble over in relation to anything from Anne Hathaway sharing chat show anecdotes about working with him to his reasonable critique of Warner Bros. failing to inform any of their directors or collaborators about the move to HBO Max – is interesting because it tied to other cultural trends that overlap. The internet’s passionate dislike of Nolan reflects broader shifts in the embrace of an intellectual-property- and corporate-identity-driven fandom. This hatred of Nolan often feels like a hatred of what he represents as a filmmaker.

You can read the piece here, or click the picture below.