Ranking Christopher Nolan's filmography

This was the first of Nolan’s big swing blank checks, as the success of his Batman efforts allowed him to make a movie about a dream heist. It was a huge hit, and a lot of people like it, but, ultimately, it’s a little silly. We mean, dream heists? Yeah, a bunch of wild stuff happens, but by setting the film in dreams, Nolan allowed himself to get away with whatever he wanted to do. “Inception” isn’t bad, but it’s a bit too convoluted and too, well, silly.

“Insomnia” is pretty much the only straight-ahead Nolan movie. After his breakthrough film, he was given the chance to make a proper studio movie with a proper budget. Not only that, but Al Pacino and Robin Williams star in it. It’s fine. This is a by-the-numbers thriller, which makes it watchable, but not exciting by any means.

We will admit to grading “Following” on a curve to a degree. In terms of actual quality, “Following” is the least of Nolan’s films. It’s also his first movie, and he made it for a reported $6,000. He also wrote it, shot it, and helped edit it. Given that, “Following” gets a bit of a boost for being impressive as a feat of low-budget filmmaking, even if the movie isn’t in and of itself great.

Sure, Bane is a fun impression to do, but “The Dark Knight Rises” feels, if not half-baked, three-quarters-baked. It could stand to be a bit shorter and more propulsive, and more focused. That isn’t to say it isn’t good. It’s an enjoyable end to the trilogy, but it’s not as good as the two prior films.

“Memento” put Nolan on the map, and it is good. It’s dark, to be sure, and won’t be for everybody. It’s here in the rankings, though, because “Memento” is a hook and it is a twist, and it isn’t a ton more beyond that. You watch it once to see it unfold, you watch it again knowing where it is going, and then you’re good.

This is where we say “The Dark Knight” is overrated. Clearly, we aren’t down on it. It’s a good movie. It’s not a great movie, though. Heath Ledger, tragic death aside, didn’t give a performance that screams “Oscar-worthy” to us. “The Dark Knight” is also Nolan’s most-heavy-handed Batman movie. There are at least a couple of Batman movies better than this one (the ‘60s film is better in its way, but obviously doing something rather different).

“Dunkirk” didn’t need a gimmick, but for whatever reason at this point in time Nolan was locked into gimmicks. That being said, the movie is remarkably intense, even if the time games make it a little hard to follow the first time around. “Dunkirk” is not reinventing the prestige war drama wheel, but it’s a very good version of that.

Did we need to see Batman begin? Maybe not. There is a real issue with reboots always starting over. “Batman Begins,” to be fair, did that before the glut of reboots (and superhero movies) was an issue in Hollywood. Here, Nolan finds sufficient good story, and Cillian Murphy (and Tom Wilkinson) make fine antagonists for Christian Bale’s first foray into the role.

Clearly, if Nolan wanted to get gimmicky and play with time, he needed to go all the way. “Tenet” got trapped in the pandemic era of film, and it certainly was a little knotty for people, you know, dealing with near-constant stress. Unless, of course, you were on its wavelength, and we are. “Tenet” is trippy, in a good way, and it’s a compelling action film well worth a watch (or a rewatch) now.

Sandwiched between two Batman movies, “The Prestige” occasionally gets overlooked. That is too bad, because it’s a very good movie, and it’s one of Nolan’s best. The meticulous filmmaker made a movie about how the meticulous desire to improve your craft can lead to obsession, ruination, and tragedy. It’s also about how competitiveness can be taken too far. Also, David Bowie plays Nikola Tesla!

As time has gone on, the sci-fi-favoring fans of Nolan have really bolstered the reputation of “Interstellar.” If you are into sci-fi, especially “hard sci-fi,” this is likely your favorite Nolan movie. It combines everything Nolan does well, and it delivers a story with heft, stakes, and some remarkable performances.

In the end, though, the Nolan movie that won Best Picture is the best Nolan movie. “Oppenheimer” is great. It’s a long, detailed biopic of a scientist, and it’s gripping from start to finish. The movie looks fantastic; it moves for being three hours; the cast is an all-timer; and it was anchored by two Oscar-winning performances. Nolan made a biopic of J. Robert Oppenheimer an epic, and that’s a testament to his skill.