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100A rare case of an American remake that actually improves on a European movie.
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100A perfect fit between filmmaker (Memento's Christopher Nolan) and material (Norway's same-name psycho-chiller from 1997), this remake gets all there is to get out of a peculiar premise with promise.
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100About as good a movie as you could have hoped for. Really good. Hole-in-one good.
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100It's taut, tense and terrific.
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100Something to treasure: a thriller whose style, structure and rhythms are so integrated with the story, you cannot separate them.
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91Superb psychological thriller.
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90Insomnia shows an equally welcome ability: a gift of creating intelligent, engrossing popular entertainment.
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90The anomalous proliferation of scenic beauty gives Mr. Nolan irony to play with, and he uses it spectacularly. The director and his gifted cinematographer, Wally Pfister, are clearly turned on by all this wasted beauty.
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90Gripping, highly dramatic thriller that more than confirms the distinctive talent of young Brit helmer Christopher Nolan.
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88Unlike most remakes, the Nolan "Insomnia" is not a pale retread, but a re-examination of the material, like a new production of a good play.
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88Less gloriously showy than "Memento," but it proves you can still craft fine art under the auspices of a big studio.
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83Despite the cat-and-mouse games between cop and criminal, this is less a battle of wills than one man's battle for his own soul. Nolan bravely treads where few American films dare to delve -- into the world of ambivalence and ambiguity -- and emerges with a compelling portrait.
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80Like the best thrillers it dives below the ordered surface of the genre into the coldest waters of the individual soul, where Hitchcock and David Lynch and Dostoyevsky have ventured. Does Christopher Nolan belong in that company? Not quite yet, but he's on the way.
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80Nolan gets his two larger-than-life leads playing off each other in the same frame (which is something Michael Mann couldn't pull off in "Heat's" pairing of Pacino and De Niro) and coaxes a melancholy turn from Pacino, an icon of angst whose real strength has always been his capacity for eloquent silence.
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80Nolan reverses the emphasis -- no surprise from the director of a plot-driven film like "Memento" -- but achieves the same end, bringing Hollywood noir under the harsh glare of permanent daylight.
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80Nolan, withholding master of disorientation in his previous non-linear films, allows far too easy access into the psychic tumult of Al Pacino's cop and Robin Williams's prime suspect.
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80It might, however, have been a greater film if its villain were as compelling as its flawed hero. Williams is effectively creepy, but next to Pacino’s rich, multileveled portrait he seems one-note, and one we’ve seen before.
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80Sensationally made and in patches pretty nerve-jangling.
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80What Nolan does accomplish here that we haven't seen from him before is staging a few horrifyingly effective suspense set pieces -- one of which, in particular, is likely to stay with you for a long time.
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78Nolan creates an effective thriller, although he keeps his stylistic pyrotechnics to a minimum.
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75Smart and well-crafted, and it boasts complex characters, effective star turns and evocative photography of a small Alaskan town in summertime, when the sun never sets. It's a solid Hollywood thriller.
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75So thoroughly absorbing while it's unfolding that later, when you play the movie back in your head, it's surprising to realize how ordinary it is. That's a testament to Nolan's talent: He's able to make even the hoariest clichés feel fresh.
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75Pacino is masterful as the sharp-witted, seen-it-all detective.
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75With Insomnia, his third feature, Nolan, 32, has proven himself a precocious master of the thriller, unsettling the audience with a brief image of blood seeping through fabric.
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75Haunting psychological drama.
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75Has to be appreciated simply for doing its job, for being the only thriller I've seen recently that made me wonder how my knuckles ended up in my mouth.
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75Under the relentless glare of the Midnight Sun, the only darkness is in the hearts and actions of the characters.
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75In the ongoing case of the fan versus the movies, the evidence suggests that a good policier is damn hard to find. So when you come across one that can boast a decent script, taut direction and a single superb performance, there's no need for prolonged deliberation.
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70A good movie, atmospheric and sometimes creepy. It grabs us with the premise and holds our attention and doesn’t let go, right up to the explosive climax.
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70The best thing about Insomnia is that despite director Christopher Nolan's soft spot for moody-blues obfuscation, he has the good sense to keep his star in practically every shot.
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70This one is nowhere near as original -- it's a flawed remake of a fine first feature from Norway -- but "Insomnia" still stands on its own as a thriller with brains and scenic beauty.
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70Pacino is typically excitable but also strangely sad, as if the case could take all he's got; Williams, on the other hand, tries playing against type but still goes over the top.
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60Nolan's intention was clearly to cast the material in a more conventional Hollywood mold without turning it into namby-pamby nonsense, and he succeeds admirably.
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60In Insomnia, the crunch comes as the hero and his opposite number hook up on a ferry, to discuss what each of them knows about the other. This should be Nolan's big moment, his answer to that quiet, magnificent interlude in Michael Mann's "Heat," when Pacino met De Niro in a coffee shop. -- But Williams and Pacino just don't mesh. [27 May 2002, p.124]
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40In this film, Nolan seems overwhelmed by the budget, the egos of the stars, the thinness of the script, and he doesn't impose much personality on the picture. It's all Pacino.
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38Nolan pushes the twilight-zone atmosphere so hard that it loses its capacity for mystery. When it's not assaulting us with jolting audiovisual expressions of fatigue, this movie plays like a pedestrian response to David Lynch's effortlessly eerie "Twin Peaks."
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User score distribution:
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Positive: 29 out of 41
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Mixed: 1 out of 41
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Negative: 11 out of 41
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