Customer Reviews

Insomnia [Blu-ray]

5 star:		(100)
4 star:		(108)
3 star:		(39)
2 star:		(26)
1 star:		(22)

 

 

Insomnia, director Chris Nolan's second full length feature, doesn't have the same gut-wrenching and mind-bending plot twists that his feature length debut, Memento, had, but does an excellent job telling an original and gripping detective mystery.

The pleasure of Insomnia is to be found in its rich cinematography, beautiful landscapes, and excellent performances. The movie is one of the most visually compelling pieces of filmmaking I have seen in years, creating surreal juxtapositions with the vast, harsh Alaskan landscape and with close-up shots of crime scene evidence. The amazing visual landscapes (both large and small) are used effectively by director Nolan to emphasize the films themes of isolation and overpowerment, of losing oneself within ones environment and in ones choices.

Insomnia's plot will disappoint those looking for a new Memento, in that it does not have the sort of turns of action and motivation that Memento does. Insomnia works well without elaborate plot twists, however, it's mood benefits from a certain lack of ambiguity of action, although the ending is perhaps a little to predictable and cliched. Insomnia would have benefited, however, from more ambiguity of motivation - while the acting is top notch, especially on the part of Robin Williams, the connections between the characters actions and their motivations and decisions is too closely drawn by the script.

Overall Insomnia is an excellent movie, and a good entry into the detective/suspense movie cannon. It suffers slightly from a couple of bad edits (in a movie filled with amazing editing and shooting) and from its desire to clearly spell out the principle characters motivations, but these minor flaws are more than redeemed by the director's excellent camerawork and sense of pacing, a strong script, and very solid acting performances. Insomnia is a must see movie, and a welcome change from the "blockbuster" summer movie scene of 2002.

In "Insomnia," directed by Christopher Nolan, Al Pacino plays Will Dormer, a Los Angeles police detective. While a controversy swirls around him and his partner, Dormer travels to a small town in Alaska to help with a murder investigation. This assignment leads him into a tension-filled cat-and-mouse game with creepy mystery writer Walter Finch (played by Robin Williams). As an added twist, the story takes place during the Alaskan summer, when there is endless daylight; amidst this inescapable light, Dormer suffers from the malady of the film's title.

"Insomnia" is a gripping, stylishly made film. The gritty action sequences have a low-tech realism that is a welcome change from the typically overdone Hollywood action thing. The performances are outstanding. Williams gets a lot of mileage out of his effectively low-key interpretation of Finch. Veteran character actor Paul Dooley brings warmth and subtle authority to his role as a small town cop, and Hilary Swank is a superb foil for Pacino in her role as an eager young cop. Pacino is excellent as the film's flawed protagonist. His performance is truly harrowing.

"Insomnia" succeeds as a suspense drama. The motif of endless daylight is well used throughout the film, and is weighted with potential symbolic meaning. More than just a good thriller, "Insomnia" also raises some relevant moral and ethical issues.

Having seen the 1997 Norwegian film of the same name, I was eager to see how the American-ized version of "Insomnia" would play out. Without delving too far into the comparisons that have been thoroughly detailed in prior reviews, I will say that this is one of the finer examples of how to film a remake.

This version of "Insomnia" takes place in a remote Alaskan port city, and revolves around the murder of a young girl. However, as the movie unfolds, the murder slowly becomes only a small piece of a much more expansive, provoking, intense character drama.

From a cinematographical perspective, the haunting beauty of Alaska is captured perfectly. In a way unique when compared to other films, the landscape is intertwined with the plot, further exposing the loneliness and isolation, while paradoxically highlighting its stark contrast with murder, death, and psychological demons. The sequence of the hunt/shooting amidst a thick, impenetrable fog is riveting and conveys a high level of tension, as the viewer shares in the disorientation the fog creates.

"Insomnia" is driven by characters and acting, and a strong cast is assembled. Al Pacino - as expected - is wonderful in his portrayal of the world-weary city cop who escapes an Internal Affairs investigation by coming to investigate this murder. In many ways, we have seen Mr. Pacino in this role on numerous occasion, and he demonstrates this with the comfortable ease in which he carries his role. However, as his sleep-deprivation - caused by the long hours of daylight - intensifies, Mr. Pacino takes his character to a remarkable next level, as he battles to cover his questionable investigative practices and battle the psychological demons tied to similar practices in cases being investigated by Internal Affairs back in Los Angeles. As a viewer, you can empathize with his character, while at the same time watch in amazement as he struggles to keep himself from completely unraveling.

Robin Williams is equally strong as the author-turned-murderer. Like Mr. Pacino, we have seen Mr. Williams in roles similar to this, and yet he is so good at pulling it off that you couldn't see any other person carrying such a role. His quiet, brooding character is psychologically scary; one senses that a violent, psychotic rage is bubbling just beneath his placid exterior. Also, Mr. Williams uses his comedic facial reactions to maximize the creepiness of his character. A couple of times he flashes a muted smile that subtly conveys the twisted pleasure he has in his cat-and-mouse game with Mr. Pacino's character. He is subdued, but brilliant, in this role.

Hilary Swank also shines as the young, impressionable cop who ultimately uncovers Mr. Pacino's attempts to cover up the accidental shooting of his partner. She wonderfully evolves from one overcome with "hero-worship" in working with Mr. Pacino's character to one disheartened and mildly angry when she finds that her "idol" isn't who he is cracked up to be. Ms. Swank more than adequately holds her own in sharing the screen with Mr. Pacino and Mr. Williams, which is no small feat.

The climatic ending to the film is perhaps slightly cliched in its quick tying up of loose storylines, but it plays well here. In its progression, you weren't quite sure how things were going to be resolved after the teenage suspect is arrested (falsely) for murder. One would almost have the sense that the movie could have ended with several loose ends hanging, allowing the viewer to ponder the outcome. But, there was instead the dramatic shootout, which ultimately was a satisfying resolution and conclusion to the film.

All told, "Insomnia" was a very solid, quiet, tense drama that is worth the time to see. I give it a four-star rating, and recommend it to anyone seeking a good character-driven movie that is free of overwhelming special effects and action sequences. People seeking a fast-paced drama might want to steer clear, as they might find the pacing of this film to be too slow for their tastes.

Director Christopher Nolan hit artistic and cinematic paydirt with his underappreciated, "Memento". This latest effort is different in style and story, but repeats all the same mysterious character flaws in a landscape that's as beautiful as it is foreboding.

Pacino, Williams and Swank all deliver spectacular performances and Pacino is incredible as the "respected" high ranking detective who has terrible secrets only to accidentally get in deeper. His consience keeps him 'awake' and his craggy face and tired eyesacks show it. Williams is just as creepy and frighteningly clever in his role, never reminding you that he is also a comedian. Swank plays the young, awe-struck cop with ease, who also faces a problem of conscience as she gets to know her mentor, Pacino. This secrecy and disallusionment seems to be the motif Nolan sets into the characters.

The scenery is spectacular, but also, as shown in several scenes, not to be trusted - just like the main characters.

It's a tension filled, medium action film that will keep you mesmerized until the end. It doesn't matter if the ending is slightly predictable, it's the ride that matters.

DVD includes all the typical Director's commentary (very interesting), making of documentary, theater trailers, etc. Best of all is a sequence into the life of an 'insomniac'. It gives the story all that more credibility.

While it's difficult to not compare this remake to the original Insomnia (with Stellan Starsgard), this version stands alone and isn't dependent on the viewer having seen the original.

Pacino gives a fantastic portrayal of an on-the-edge, burnt out detective. In addition to this character portrayal, the detective can't sleep because of the white nights. We see Pacino lose lucidity and eventually see hallucinations because of his sleep deprivation. In another, less experienced actor, this would be heavy handed and distracting. However, Pacino portrays this smoothly and convincingly. Your eyes will be droopy by the end of this film.

Williams' portrayal of the 'bad guy' is also extremely well done. Several people I know express hesitation about seeing this movie because they're wary that Williams will deliver a ham-handed character. This is not the case. Like Pacino, Williams also creates a wonderful, understated and compelling character.

Swank also does well. Her performance is slightly reminiscent of the role of the Frances McDormand in Fargo. Swank gives a solid performance and reveals the many conflicting emotions and layers of character of the sole woman on the small-town Alaska police force. Through a perky facade, Swank reveals her character's extreme intelligence and power of observation.

And yes, those expecting a similar film to Memento will not find that in Insomnia. Nolan has made another unique film and is carefully avoiding falling into the trap of filming the same story multiple times (like Guy Ritchie).

With the award winning trio of actors, Nolan creates a film that isn't dominated by any one performance and is a solid and compelling film. Recommended.

Insomnia is quite simply about a web of lies, and the consequnces they can produce. It is very well acted on both Pacino's and Williams part, and Swank was brilliant as well. Besides all that good stuff, I am also a fan of the director, "ever since I saw Batman Begins" and find his artistic vision to be incredible.

The only problem I had with this movie was the ending. Sure, it showed how lying could defeat a person, but I thought a little redemption would have been nice.

However, if you have a strong stomach, or a good editing company, I suggest you see this.

This is a quite diverting albeit not totally successful turn into film noire for both Robin Williams and Al Pacino, and the scenes between them are sometime electric with the kind of charisma such notable actors and stars often deliver. The script, too, is uneven, given the fascinating premise of a highly regarded but somewhat unconventional big-city detective and a somewhat disreputable character at that, (played well by Pacino) brought into the backwaters of remote Alaska to help solve a grisly and unsettling murder of a young and attractively seductive co-ed. From the outset, Pacino's character is wracked with insomnia which seems to be a result of both his own haunted past and the strange environment he now finds himself surrounded by.

Very early on, the detective and his partner discover someone suspicious revisiting the crime scene, and in pursuit Pacino makes a fateful mistake that dials up the tension level and sets the stage for the insidious cat and mouse game that ensues between the pursued killer (Williams, in an over-the top performance that provides a pulse-raising coda to the progression of events) on the one hand, and the haunted and increasingly confused and bewildered Pacino, on the other. What results from this deadly conflict is a nightmare on steroids, a film noire shot in stark and bold Technicolor shades and hues.

The supporting cast, including Hilary Swank doing a nice turn as an overly earnest young Alaskan policewoman, veteran Paul Dooley, and relative new-comer Martin Donovan, all help to promote the suffocating sense of a claustrophobic whirl of events gone tragically out of control. Not for the squeamish, I fear, but great entertainment for someone willing to see Pacino in yet another portrayal of a cop over the edge, and the surprisingly deadly Robin Williams as a most worthy opponent for the cop's relentless efforts to pursue him. Enjoy

Christopher Nolan's "Insomnia" is a fantastic film, that manages to top the original. This police thriller is hypnoticly enthralling from beginning to end. Al Pacino has one of his best roles in years.(He's still the man!) Robin Williams was better in "One Hour Photo", but he's not glaringly miscast as others claim.The rest of the cast is first-rate, with Hillary Swank being particularly good. The credit for this film's greatness belongs to Director Nolan. He's created a tense,visually unique picture that transcends genre cliches, and stands as one of the best movies of the decade.

The opening helicopter shots descending into a Northern winter-wonderland are the only authentic pictures of "Alaska" in 2002's "Insomnia". No matter. You can leave reality at the door...Filmed in British Columbia(the glacier shots are spectacular), "Insomnia" is a brutal, un-relenting, psychological expose of one man's collapse into hell. Of course, he finds the greatest source of his pain resides within his very own mind. Al Pacino(at age 62) and Robin Williams(nicely underplayed) are exceptional in this American re-make of the recent European hit. The slippery-slope failure's of L.A. Det.Dormer are disected with precision by a great director, and perhaps the master actor of our time, the worldly Pacino. This excellent DVD includes a sit-down with Pacino himself...your eyes will not turn away...Lack of sleep and criminal neglect cause our valiant officer to step-over-the-line. His panic is real. What should he do? Try to rest? The Robin Williams tag-line says it all..."Don't worry Will. You can sleep when you're dead."

This finely wrought remake of the Norwegian film of the same name (1997)--an excellent film by the way--is something close to a thriller masterpiece flawed only by a too-hurried resolution. Christopher Nolan, whose strikingly original Memento (2000) is among the best films made in recent years, planned this out very carefully, tying up most of the loose ends without relying on any phony motivation, which we sometimes see in passionate cop dramas. However, the guns blazing at the end was a cheap way out of this psychologically complicated story. Still, I think we can overlook that small fault since the rest of the film is so very well done.

The incomparable Al Pacino gives a mesmerizing performance as Los Angeles police detective Will Dormer who is sent with his partner north to Alaska ostensibly to help in a murder investigation. However we quickly learn that being out of town may help him and his partner avoid an Internal Affairs investigation to which Dormer may be vulnerable. By the way, "dormir" in French means "to sleep," which is something Dormer does not do for six days, which is very close to the edge of human tolerance. Indeed Dormer's last line in the film is "Just let me sleep."

Pacino is supported by Robin Williams as Walter Finch, a morally-deranged mystery writer who doesn't appear until the film is about half over. He makes up for keeping us waiting with a dramatic performance that will curl your toes. He is even more despicable than Bjorn Floberg was in the Norwegian film. Not only is Robin Williams's appearance subtly altered and his demeanor strange, even his voice is not the same. He is a long way from Good Morning, Vietnam (1987) and Mrs. Doubtfire (1993), but I think this is, in a more modest way, one of his best performances.

Also featured is Hilary Swank, whom you should see in Boys Don't Cry (1999) if you haven't, as Ellie Burr, an ingenue Alaskan detective in awe of the master cop from the big city. Notable in a modest role is Jonathan Jackson as Randy Stetz, a high schooler with a chip on his shoulder. I also liked the brief appearance by Katharine Isabelle, who played the murder girl's trampy girlfriend.

The key psychological question in both films is why does Will Dormer decide to cover up the accidental shooting? In director Erik Skjoldbjaerg's 1997 film the answer is human nature. That certainly worked, but was not enough for Nolan, and so he gives us Dormer's Internal Affairs problems back in L.A. as further motivation. This works very well for two reasons: One, it is convincing. Recall his spontaneous confession to the hotel clerk (Maura Tierney). And two, the cop problems in Los Angeles are right out of the headlines of recent years. They are real. Nolan even has Ellie find a copy of the Los Angeles Times with one of the stories on the front page.

The next psychological question is, is the villain a serial killer in the making? If he is, then Dormer must stop him regardless of his own problems. And therein lies the internal conflict of the film so well projected by Al Pacino. We know that there is something more than the midnight sun to account for Dormer's disintegration. He is a flawed cop. Like some of his real life counterparts in L.A. and elsewhere he took it upon himself, by falsifying evidence, to administer justice to a man he knew was guilty. When he did that, he knew (and this is something he teaches Ellie) that he had lost his integrity as a cop. The temptation to frame somebody we know is guilty of a horrendous crime is very great and many of us would fall into it.

Since I cannot discuss the ending here in any concrete way, let me just say that if Nolan had really taken his time with the ending he might have had Dormer simply murder the villain and face the consequences (or even commit suicide). But I suspect Nolan believed that the heroic character of his star would have been compromised. In Skjoldbjaerg's film the police detective actually shoots the dog to obtain the spent bullet he needs. In Nolan's film the dog is already dead. I think this minor blush of character actually taints Nolan's film to some small degree and leads Nolan down the path to the Hollywood ending to come. But judge for yourself

One final point. A lot can be gotten out of a single camera shot. This is something that Nolan does very well. A case in point is the shot on the plastic evidence bag holding the bullet that Dormer picks up in the lab. Nolan has the camera show us the words on the bag, "chain of custody," and he has the camera linger long enough for us to read them. This nice touch reminds us that THAT very chain of custody is being compromised, another echo of real life criminal investigations from recent years in L.A.

See this for Al Pacino, at his best here, one of the great stars of our era whose ability to command the screen is second to none.