PicturesĪnd then, in the final scene, we see a side to Williams that we'd never seen before, but that's thrillingly convincing nonetheless. With all of this going on, Robin Williams is reduced to a kind of glorified bit-part player infinitesimally more substantial than Kevin Spacey's role in Seven.Īn exhausted Pacino and Swank stumble toward the light. And even though her role is thankless and one-note, even Hilary Swank gets to position herself as the heart of the film – embodying all the innocence that Pacino's character has wilfully flung away. Somehow, Nolan miraculously managed to lash down his compulsion for high-volume flailing, so that all the struggle plays out across Pacino's battered monument of a face. The appeal of the film, front and centre, is Pacino's performance as the detective.
He tampers with the evidence to remove any trace of blame, and then his world really begins to cave in. It's well told and well acted and beautifully shot, but the bare bones of it could quite easily be an episode of, say, NCIS.Ī troubled detective, Will Dormer, goes to Alaska to wrap up a simple murder case but, groggy from the perpetual daylight, accidentally shoots his partner, who was due to testify against him in an internal affairs case. Even the Dark Knight trilogy – with the exception of its useless final half-hour – was driven by a determination to drag the Caped Crusader into the real world. The Prestige had its film-making-as-magic twist at the end. Memento had its back-to-front narrative structure.
And a bad cop can't sleep because his conscience won't let him" – Ellie BurrĬhristopher Nolan films all tend to hinge on, for want of a better word, a gimmick. Photograph: Buena Vista International "A good cop can't sleep because he's missing a piece of the puzzle.
Hilary Swank in a thankless sidekick role.
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