It’s hard to define Nolan’s style – he goes epic and wide-angle when the moment demands it, but mostly his syntax is economical and unobtrusive, non-showy. It almost always works because you’re drawn into the intricacies of the story.
He has a thing for subject matter. Like the polymath Kubrick, you get the impression he’s autodidactically researched himself into a master of the topic. Memento (2000) defines Nolan at his very best. Immediately after watching I went on the usual internet binge. He seems to know most of his shit.
The non-linear structure works to a tee because it makes sense. The complexities of the character and the realisation that he’s not some naive rookie vigilante are revealed so well you’d be forgiven for thinking this is the director’s 10th venture into movie making.
And Joe Pantoliano is sublime. He always is.
What happened to him?
Wanderings and ... wonderings. 