With the release of Oppenheimer, it’s time to rank all of director Christopher Nolan’s movies from worst to best (BWAAAAAHM!). This wasn’t an easy task. Unlike ranking five Indiana Jones movies or seven Mission: Impossible films, Nolan offers 12 films that range from historical dramas (Dunkirk, Oppenheimer), to sci-fi thrillers (Interstellar, Tenet) to mysteries (The Prestige, Memento) to his Batman trilogy. Through it all, Nolan has risen to become one of the world’s finest filmmakers, one of the few who can dependably fill theater seats on an opening weekend, and is considered the last respite for grown-up cinema fans. Here are all of Nolan’s films, from the weakest to the strongest.
12. Insomnia (2002)
It says a lot about Nolan that the “worst” film he directed is still rather good and worth watching. Insomnia is a remake of the Norwegian title and is perhaps notable that it’s the only movie Nolan directed that he didn’t also write or co-write. Here a Los Angeles detective (Al Pacino) teams with a small town detective (Hilary Swank) to solve a murder in remote Alaska. It’s a nice, moody detective drama, but it lacks Nolan’s usual ambitious scope.
11. Following (1998)
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Nolan’s debut feature, made for a reported $6,000, showed all the promise for the then-20something director. Shot in black and white, it has some themes he would explore for decades to come: it centers on a single-mindedly obsessive protagonist alienated from society who follows a code (sound familiar?), and has a twisty third act and smart expositional dialogue that rings Nolan. The feature centers on a man who follows strangers around London, and becomes embroiled in more than he expected after breaking his rule never to follow the same person twice. At just 70 minutes, some might argue it’s not a feature-length movie, but Nolan — who put three years of his life scraping it together — has said it’s just as valid as anything he’s done.
10. Tenet (2020)
John David Washington is compelling as a secret agent trying to prevent World War III in a war between the present and future. Tenet feels like a collection of Nolan’s most frustrating habits — from an oppressive soundscape that eclipses dialogue, to stylish-yet-flat characters, to a narrative that’s twisty to the point of sometimes losing the audience. Still, Tenet earns some admittedly shallow points for looking cool and sounding cool and trying gamely to do something original with time travel. (THR’s review.)
9. The Dark Knight Rises (2012)
Tom Hardy is marvelous as the menacing terrorist Bane and there are some strong sequences in the climax to Nolan’s Batman trilogy (such as the plane hijacking opener, and Bruce’s trial in The Pit). Also, the film deserves credit for thinking big — criminals entirely taking over Gotham City is a storyline that really goes for it (so long as you don’t think too much about the believability of a police force being conveniently trapped in a sewer for months). (THR‘s review.)
8. Memento (2000)
The one that got everybody’s attention: Nolan’s sophomore effort (co-written with his brother Jonathan) is a twisty noir thriller starring Guy Pearce as a man unable to make new memories trying to solve his wife’s murder. It’s a compelling puzzle that showed a filmmaker who can blend an accessible genre movie with a challenging narrative and pull it off, all leading to an ending that’s, well, unforgettable.
7. Dunkirk (2017)
Dunkirk is masterfully well made from its very first shot, which smash cuts into falling leaflets on a street amid a ticking clock as World War II British soldiers attempt to flee the Germans as they invade France. Nolan’s skill in staging action is on display in one gripping sequence after another. Yet several of the heroes feel unknowable and interchangeable, which keeps the audience at an emotional distance even as Nolan employs every sweeping cinematic technique to pull us close. (THR‘s review.)
6. Interstellar (2014)
Nolan is often accused of being a cold filmmaker — and can be. But there’s nothing aloof about Matthew McConaughey’s powerful performance as an astronaut who leaves behind his daughter in a quest to save humanity by finding a new world to replace a dying Earth. While the story has some plot holes (okay, a lot), the resulting combination of the 2001: A Space Odyssey-inspired cinematic wonder and its emotional heft make this one of Nolan’s most popular films (and currently his most successful non-superhero title at the box office). (THR‘s review.)
5. Inception (2010)
From here on, Nolan is hitting home runs. Inception has Nolan putting together so many of his signature talents into one original blockbuster as it follows Leonardo DiCaprio as a man who implants false memories for his corporate clients. It’s visually spectacular, exceedingly clever and has the filmmaker’s coolest ending shot. While Hans Zimmer’s score became a meme for that iconic bwaaaahm, it’s also one of the composer’s greatest efforts (see “Time”). (THR‘s review.)
4. Batman Begins (2005)
The first hour of Batman Begins is a fantastic launch to not only a grown-up Dark Knight trilogy but also a re-imagining of what superhero movies can be if they’re treated like larger-than-life crime dramas with practical effects instead of quip-filled save-the-world CGI-fueled dramedies. Christian Bale quickly proved he’s a fine successor to the cowl and there’s never been a better Alfred than Michael Caine, even though the film’s final act staggers a bit.
3. The Prestige (2006)
The Prestige is a marvelous mystery based on Christopher Priest’s novel about dueling turn-of-the-century obsessive magicians with terrific performances by a dogmatic Bale, a searing Hugh Jackman (“You don’t know?!“), and an all-too-wise Caine. The Nolan brothers’ script uses voiceover and narrative in such a confident and propulsive way, and there’s an ending twist you’ll never see coming.
2. Oppenheimer (2023)
Oppenheimer is too long, overly chatty, and its final act goes from fate-of-the-world stakes to men sitting around tables arguing over security clearance (imagine if Batman defeated the Scarecrow in Batman Begins and then spent another 40 minutes discussing how to best fix Gotham City’s damaged monorail system). And yet, Nolan uses every well-honed instrument in his toolbox to create a dramatic masterpiece that has something that his other, more pulpy films largely lack: modern-day real-world importance. Based on the biography American Prometheus, Nolan successfully tells the story of a major historical figure, champions science, and movingly reminds the world of the dangers of weapons of mass destruction. The score by Ludwig Göransson might be the best yet for a Nolan film. And Nolan’s hellish post-Trinity test pep rally scene is perhaps the most cleverly directed and emotionally powerful scene of his career. (THR‘s review and cover story.)
1. The Dark Knight (2008)
Because you’re never going to watch Oppenheimer as many times as you’ve probably already watched The Dark Knight — as the clown says, it’s “just too much fun.” It’s still the best superhero movie ever made with Heath Ledger delivering a legendary (and posthumous Oscar-winning) performance as The Joker that looms over every frame, despite only appearing in 33 minutes of the 152-minute film. The script (by the Nolan brothers, along with David S. Goyer) is fantastic, with so many iconic lines (“You either die a hero or you live long enough to see yourself become the villain” … “It’s all part of the plan…”). Every supporting cast member pops, Zimmer’s score is ominously tense, and the action sequences are grounded and effective. So many of Nolan’s movies have lengthy run times, but this is one you don’t want to end. (THR‘s review.)
In conclusion, Christopher Nolan has consistently delivered powerful and thought-provoking films throughout his career. While some may be weaker than others, they all showcase his unique directorial style and storytelling abilities. As audiences eagerly anticipate his upcoming projects, including Oppenheimer, they can rest assured that Nolan will continue to push the boundaries of cinema and captivate audiences with his compelling narratives.
