• Welcome to the PopMalt Forums! Whether you're new to forums or a veteran, welcome to our humble home on the web! We're a 20-year old forum community with thousands of discussions on entertainment, lifestyle, leisure, and more.

    Our rules are simple. Be nice and don't spam. Registration is free, so what are you waiting for? Join today!.

Movies David Fincher and Christopher Nolan: The Darkest Night


Registered Member
Once upon a time there was a man named David Lynch. He made films. Evey single one he made was labelled 'dark'. It didn't matter the content, be it a twisted suburban whodunnit or an outer space saga. It was dark.

Since then, or perhaps even before, people have turned up to create dark material that is nor horror or set around issues that must be dark.

Two men named David Fincher and Christopher Nolan were such people, and although their films held stories and ideas of utmost brilliance it seemed that darkness was always there somehow, lingering behind the scenes, driving the plot onwards.

The idea of a feature length score that hums and whirs throughout the feature, amping up a sense of unreleneting dread is a new trick that truly hits the senses, as are the quick fire cuts from one place and one character to another. Showing each desparate struggle in a constant barrage that makes it impossible to turn away.

Perhaps their earlier work wasn't as structured like this, but the notion of this method of complete gloom was there.

In Se7en the griminess has always struck me as over the top, the city painted as a greasy sweltering shit hole.
In Memento, the motel appears seedy, along with the murderhole - even a plain old bar looks like heck on earth.
And onwards this grime has been amped up.
Even in seemingly mundane affairs of general normalcy like The Social Network's brooding, bitter tone and empty, poorly-lit wooden hallways. Or The Prestige's gothicly morose Victorian London.

All items of particular recent memory strike me as being bolstered on this notion of gameplaying and general sustained darkness.
From The Girl with the Dragon Tattoo, and The Dark Knight and Inception and Benjamin Button.
They thrive on the dark and on a style I cannot even describe properly. I find it hard to stick it to a genre.
A sort of rolling, ongoing build up that doesn't reach fever pitch until ten minutes to the final curtain. A Tour-de-Force if you will.

I'm wondering if these two filmmakers in particular bounce off each other, concocting their visions using aspects of anothers work.
Whether they are or not, all of this work, in general, is phenomenally good viewing...

I ask:

Why is this dark viewing so compelling to watch?

Where did this sort of film come from? (If you know what I mean) - The earliest thing I can think of that truly matches this style is Magnolia - by Paul Thomas Anderson - I mean, they've probably been around for some time now, but I've only just pondered questioning the origins. As if for some reason I've missed it, as if they've only just happened.

And finally:
Who is the better at making these sorts of dark films -- David Fincher or Christopher Nolan?

Does anyone understand what I'm getting at here?

P.S. I don't consider this stuff 'film noir' -
Last edited: