Unbelievably run-of-the-mill until its expectation-subverting second half, it makes sense that Insomnia was chosen to be adapted by director Christopher Nolan, but also that it wasn’t his to write nor was it the public’s inclination to consider it near to the upholding of his finer works. From the questionably turbulent editing, occasionally sappy dialogue, some of the preposterous ignitions to many of the film’s key conflicts, and a pedestrian final showdown that’s used as a feeble means to conclude the movie, there are clearly gaping issues with this remake of the Norwegian mystery thriller.
If it weren’t for the sufficient turmoil that Al Pacino releases effectively (although a tad excessively) through his fair performance, the ghostly presence of Robin Williams’ deviantly manipulative character, as well as both of these individuals pensive dynamic, I probably would’ve gone as far as to say that this movie was bad. Alas, it is at least, half-and-half.
Insomnia is kind of similar to Se7en though in a way, huh? The villain is quite intelligent, often passive in the way he speaks, tries to connect the detective’s wrongdoings to his very own, and ultimately wraps a guilty investigator up into a twisted game of paranoia. Nice?
Also, this was the unfortunate inception of Nolan’s increased habit in writing female characters that are solely created just to progress the lead character’s arc. How do they operate though as elaborate, emotional human beings themselves? Who knows for sure! How do you go from the roast-master Carrie-Anne Moss to a shapeless fangirl and some hotel worker?
“Insomnia” is now available to stream on HBO Max.