See, the problem with Nolan is one of the things that makes him recognisable, which is that he is ridiculously self-important as a plotter. All of his films are blatantly written to discuss or confront BIG IDEAS, and he neglects or abstracts a lot of the personal interactions that his characters have. His dialogue and character directing aren't bad per se, but they're not as natural as they would be in another director's hands. He gets away with this in stuff like The Prestige because the characters are so intensely duplicitous or enigmatic that the staginess makes sense, but he's not particularly good at naturalistic storytelling—although I don't think he really tries.
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