So good we had to stop it halfway to go to the supermarket to pick up some Italian food.
— Well that was amazing.
— If there's one common thread though all of Nolan's film, it's how he plays with, distorts and fragments time. Stories play in reverse or at different speeds or loop around themselves (just try drawing a timeline for the scenes in The Prestige). The approach here is initially a bit distracting ("hang on, where/when are we now?"), but ultimately pays off.
— So many cheekbones.
— The sound. Oh boy. I've never experienced anything quite…
This review may contain spoilers. I can handle the truth.
— What an inconsequential mess. A dense quiche of a film.
— It could all be resolved if the characters just had a conversation, or maybe didn't make huge decisions based on a poorly printed fax.
— You know those overstuffed and beige ensemble films like New Year's Eve and Valentines Day? It's basically one of those.
— Remember how much fun the first Captain America film was? Yeah, we're a long way from there now. Dour is…
There's a car Pope? How does that work? Was there a car Jesus? Was he even a car? Or a cart? How do you crucify a cart? Does the car Pope oppose the use of contraception? How do cars reproduce? Can cars only do it with similar models of car? What does a baby car look like? Why are there pavements? And seriously, there's a CAR POPE?