With Insomnia, indie prince turned Hollywood it-director Christopher Nolan assumes the role of hired-hand with impeccable aplomb and eminent professionalism. His take on Erik Skjoldbjaerg's 1997 Norwegian meta-thriller of the same name often bears the unmistakable signs of screenplay-by-committee and other corporate travesties. But in a pleasant surprise, it often displays the same mnemonic mastery - that ability to manipulate past and present - that made Nolan such an interesting filmmaker in the first place. Its Scandinavian settings transposed to the Alaskan wilderness, Insomnia threatens, in its first hour at least, to amount to little more than pointless rehash.
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