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The Films of Christopher Nolan Ranked

Aug 30, 2023
9 min read

Updated: Apr 13, 2025


Christopher Nolan has raised an entire generation of film lovers since the turn of the century with complex neo noir puzzle box thrillers, gravity defying spectacles, championing the IMAX format for large scale blockbusters, crafting a body of work that has redefined the cultural perceptions of time, memory, dreams, space, and Batman. Since the release of his latest award winning smash hit Oppenheimer I thought I would share my personal ranking of all 12 of the films of favourite filmmaker.




12: Following (1998)

It feels harsh to judge a low budget first feature, that being said Following is a tightly constructed neo noir with the seeds of early Nolan traits, but most an introduction to a filmmaker who was never going to do things the simple way. With a non-linear structure story about burglary and mistaken identities, this is a classic Nolan narrative of sharp twists and turns and paranoia, it may be not the most polished, its an impressive first step. From his first film, Nolan has always had affinity for men in sharp suits.
It feels harsh to judge a low budget first feature, that being said Following is a tightly constructed neo noir with the seeds of early Nolan traits, but most an introduction to a filmmaker who was never going to do things the simple way. With a non-linear structure story about burglary and mistaken identities, this is a classic Nolan narrative of sharp twists and turns and paranoia, it may be not the most polished, its an impressive first step. From his first film, Nolan has always had affinity for men in sharp suits.

11: Insomnia (2002)


I should admit I objectively think Insomnia is a better film then number 10 on this list, as a remake of a Swedish psychological thriller with no Nolan credit in the writing, Insomnia is a solid thriller, a further demonstration in Nolan’s early career that he knows how to make a compelling crime movie with a morally ambiguous protagonist. Even for a non original Nolan project, the story ties in well with his thematic trends involving mind games, and unrecognised guilt. It is also a testament to Nolan successfully landing his third film while taking on screen giants like Al Pacino and Robin Williams without bating an eye lid. It is a well crafted thriller, one of Nolan less ambitious outings.
I should admit I objectively think Insomnia is a better film then number 10 on this list, as a remake of a Swedish psychological thriller with no Nolan credit in the writing, Insomnia is a solid thriller, a further demonstration in Nolan’s early career that he knows how to make a compelling crime movie with a morally ambiguous protagonist. Even for a non original Nolan project, the story ties in well with his thematic trends involving mind games, and unrecognised guilt. It is also a testament to Nolan successfully landing his third film while taking on screen giants like Al Pacino and Robin Williams without bating an eye lid. It is a well crafted thriller, one of Nolan less ambitious outings.

10: Tenet (2020)


Even for a Nolan fanatic as myself, Tenet was a stretch, and releasing it during a pandemic year to try get people back in cinemas did not help its reputation, it was the film we deserved but not the one we needed. Having said that, the ambition of Tenet still is what astounds me, and compare this to any Marvel film these days I would still take what Nolan does over any other franchise product. This was really a test to Nolan's limits, at the height of his powers where he can pretty much demand anything from a studio and they will give to him, Nolan reach his peak in terms of narrative coherence and big budget action. I mean it is pretty neat to know that he bought a real 747 jet and blew it up just because he could, but the final shot doesn't really seem worth it. My main disappointment with Tenet was its lack of philosophical questions, when you have a film with a very singular take on time travel, I was left lacking the existential questions that previous Nolan films have offered, though there was definitely confusion but more over the mechanics and less the themes. Over time the more I have seen Tenet the more I have enjoyed it, there are stunts and visuals that you just don’t see in other studio films, John David Washington and Robert Pattinson make a dynamic team, and for the sheer invention of it, Tenet has my respect.
Even for a Nolan fanatic as myself, Tenet was a stretch, and releasing it during a pandemic year to try get people back in cinemas did not help its reputation, it was the film we deserved but not the one we needed. Having said that, the ambition of Tenet still is what astounds me, and compare this to any Marvel film these days I would still take what Nolan does over any other franchise product. This was really a test to Nolan's limits, at the height of his powers where he can pretty much demand anything from a studio and they will give to him, Nolan reach his peak in terms of narrative coherence and big budget action. I mean it is pretty neat to know that he bought a real 747 jet and blew it up just because he could, but the final shot doesn't really seem worth it. My main disappointment with Tenet was its lack of philosophical questions, when you have a film with a very singular take on time travel, I was left lacking the existential questions that previous Nolan films have offered, though there was definitely confusion but more over the mechanics and less the themes. Over time the more I have seen Tenet the more I have enjoyed it, there are stunts and visuals that you just don’t see in other studio films, John David Washington and Robert Pattinson make a dynamic team, and for the sheer invention of it, Tenet has my respect.

9: The Dark Knight Rises (2012)


The final instalment in the epic Dark Knight trilogy had a lot to live up to, not just in concluding an epic storyline, but also following the game changing aftermath of The Dark Knight (2008). The Dark Knight Rises doesn’t follow the same masterful drama as it predecessor, but it does take the story and characters to a Biblical scale journey of redemption. Tom Hardy brings an intimidating menace as Bane whose mighty physic and muffled voice are still iconic to this day. Over time the Dark Knight Rises has felt more ill-disciplined in its narrative and length, but there is grandiose sights and scenes as Nolan takes his pioneering IMAX cinematography to inspiring heights. For a Christian, my appreciation for it has become much more spiritual as a film that I believe posses a Gospel power in its depiction of Batman's brutal crucifixion by Bane and then miraculous resurrection.
The final instalment in the epic Dark Knight trilogy had a lot to live up to, not just in concluding an epic storyline, but also following the game changing aftermath of The Dark Knight (2008). The Dark Knight Rises doesn’t follow the same masterful drama as it predecessor, but it does take the story and characters to a Biblical scale journey of redemption. Tom Hardy brings an intimidating menace as Bane whose mighty physic and muffled voice are still iconic to this day. Over time the Dark Knight Rises has felt more ill-disciplined in its narrative and length, but there is grandiose sights and scenes as Nolan takes his pioneering IMAX cinematography to inspiring heights. For a Christian, my appreciation for it has become much more spiritual as a film that I believe posses a Gospel power in its depiction of Batman's brutal crucifixion by Bane and then miraculous resurrection.

8: Batman Begins (2005)


Batman Begins is also where Nolan began for me, though I was ignorant of the director behind the film at the time, there was something indeed unique about this refreshing and more serious take on the caped crusader, especially as my preconceived notion of Batman was only reflected by the bright and campy incarnations created by Joel Schumacher and Adam West. Even in context of today Batman Begins is not the sort of superhero blockbuster that gets made today and treated with the same level of intelligence and creativity. Matt Reeves being the only exception. What Batman Begins introduces is the ideas behind Batman, a broken world of corruption without hope that needs someone to take a stand. Nolan harnesses the psychological trauma of Bruce Wayne which births his symbol of fear, but wrestles with the limits of justice and belief that no one is beyond saving. Batman Begins remains an entertaining romp which reinvented the superhero genre, but it still comes down to being a bit of warm up act to what will follow.
Batman Begins is also where Nolan began for me, though I was ignorant of the director behind the film at the time, there was something indeed unique about this refreshing and more serious take on the caped crusader, especially as my preconceived notion of Batman was only reflected by the bright and campy incarnations created by Joel Schumacher and Adam West. Even in context of today Batman Begins is not the sort of superhero blockbuster that gets made today and treated with the same level of intelligence and creativity. Matt Reeves being the only exception. What Batman Begins introduces is the ideas behind Batman, a broken world of corruption without hope that needs someone to take a stand. Nolan harnesses the psychological trauma of Bruce Wayne which births his symbol of fear, but wrestles with the limits of justice and belief that no one is beyond saving. Batman Begins remains an entertaining romp which reinvented the superhero genre, but it still comes down to being a bit of warm up act to what will follow.

7: Oppenheimer (2023)


Nolan’s film may not always appear to be emotionally motivated, but they reveal a lot more about his mindset and emotions than we may realise. Memento and Inception reflect Nolan’s mind, Interstellar was an expression of Nolan’s parental love, which makes Oppenheimer and exposure to Nolan’s greatest fears. Through unpacking the life and work of Robert Oppenheimer and the creation of the Atomic Bomb, Nolan shakes the ground itself with this devastating reminder of the ever-threatening weapons of annihilation that we have created. For essentially a 3-Hour courtroom drama, Nolan grasps us with constant tension and anticipation through this soulful interrogation of one of the most significant men in human history, which is all the more rendered by the momentous performance by Cillian Murphy. As a departure for Nolan, Oppenheimer is less about spectacle but reaction, and while we get a stunning Trinity test recreation, we get an even more nightmarish sequence where Oppenheimer begins to realise what monster he has unleashed on the world in the aftermath of Hiroshima and Nagasaki's bombings. Nolan utilises his large format to capture the sheer look of terror on Murphy’s face in these moments and it’s an expression that will haunt you forever.
Nolan’s film may not always appear to be emotionally motivated, but they reveal a lot more about his mindset and emotions than we may realise. Memento and Inception reflect Nolan’s mind, Interstellar was an expression of Nolan’s parental love, which makes Oppenheimer and exposure to Nolan’s greatest fears. Through unpacking the life and work of Robert Oppenheimer and the creation of the Atomic Bomb, Nolan shakes the ground itself with this devastating reminder of the ever-threatening weapons of annihilation that we have created. For essentially a 3-Hour courtroom drama, Nolan grasps us with constant tension and anticipation through this soulful interrogation of one of the most significant men in human history, which is all the more rendered by the momentous performance by Cillian Murphy. As a departure for Nolan, Oppenheimer is less about spectacle but reaction, and while we get a stunning Trinity test recreation, we get an even more nightmarish sequence where Oppenheimer begins to realise what monster he has unleashed on the world in the aftermath of Hiroshima and Nagasaki's bombings. Nolan utilises his large format to capture the sheer look of terror on Murphy’s face in these moments and it’s an expression that will haunt you forever.

6: Interstellar (2014)


Interstellar is one of Nolan’s purest big screen creations that literally transports you to other worlds and realms of outer space as well as the heart. But that doesn’t really matter without what Interstellar is really about, a father and daughter relationship. This is what has truly captivated people over the years, as we think of Nolan for all the complex and practical set pieces, we can forget about the emotion weaved in his films and Interstellar is still his most endearing. It comes down to some beautiful performances from Mathew McConaughey and Jessica Chastain embodying a connection across space and time like no other, but Hans Zimmer’s minimalist melancholic organ score is also a key igniter of these feelings which has gone down to be one of his best and most loved scores. Interstellar conjures such powerful notes and moments, it’s hard to think of another film with same fine tune of cosmic longing, it may take some larger than life leaps towards the end, but if you trust it with your feelings then you will be drawn to tears by the end.
Interstellar is one of Nolan’s purest big screen creations that literally transports you to other worlds and realms of outer space as well as the heart. But that doesn’t really matter without what Interstellar is really about, a father and daughter relationship. This is what has truly captivated people over the years, as we think of Nolan for all the complex and practical set pieces, we can forget about the emotion weaved in his films and Interstellar is still his most endearing. It comes down to some beautiful performances from Mathew McConaughey and Jessica Chastain embodying a connection across space and time like no other, but Hans Zimmer’s minimalist melancholic organ score is also a key igniter of these feelings which has gone down to be one of his best and most loved scores. Interstellar conjures such powerful notes and moments, it’s hard to think of another film with same fine tune of cosmic longing, it may take some larger than life leaps towards the end, but if you trust it with your feelings then you will be drawn to tears by the end.

5: Memento (2000)


Memento, the unforgettable second feature that brought Nolan onto the scene. It still stands as one of his most tightly wound neo noirs, where Nolan takes us intimately into the subjective mind of a vengeful amnesic widower whose whole life is not what he remembers. Even after every viewing I still find myself amazed and baffled at the same time. If feels aligned with much of Nolan’s DNA since the reversed bullet shot from the opening is essentially the image that inspired Tenet, and Oppenheimer inherited the overlapping timelines juxtaposed by the split colour and black/white cinematography. Nolan begins to isolate the single factors of our psyche and investigating how much these aspects truly make up who we are when they are altered. Memento becomes more of a horror story about how much memory can define us, and how distorted and easily manipulated our memories can become by others and also ourselves, that we could turn into a completely different person without knowing it.
Memento, the unforgettable second feature that brought Nolan onto the scene. It still stands as one of his most tightly wound neo noirs, where Nolan takes us intimately into the subjective mind of a vengeful amnesic widower whose whole life is not what he remembers. Even after every viewing I still find myself amazed and baffled at the same time. If feels aligned with much of Nolan’s DNA since the reversed bullet shot from the opening is essentially the image that inspired Tenet, and Oppenheimer inherited the overlapping timelines juxtaposed by the split colour and black/white cinematography. Nolan begins to isolate the single factors of our psyche and investigating how much these aspects truly make up who we are when they are altered. Memento becomes more of a horror story about how much memory can define us, and how distorted and easily manipulated our memories can become by others and also ourselves, that we could turn into a completely different person without knowing it.

4: The Prestige (2006)


The Prestige is the magic trick that keeps on giving and one of Nolan’s most philosophical films. I wish that I could unsee the Prestige and be wowed the first time by its deception and misdirection all over again, it is a genuine illusion of a film with the answer staring you in the face all the time. Over much thought I have began to read the Prestige as a sort of personal statement about the way Nolan crafts his films, like a grand illusion to make the audience believe in the impossible, though the Prestige is also a cautionary tale about obsession and competition with a subtextual narrative about rise of electricidal technology that would come to define our society. Christian Bale and Hugh Jackman's onscreen rivalry is twisted and deadly, the price of two artists trying to outsmart the other and keep their secrets hidden. It also bodes well with how Nolan is interested in the strength of technology, but he remains a very analogue filmmaker, holding onto a traditional form of craftsmanship. The Prestige is a testament to that craft and symbolises the hard work that Nolan puts in as a director to create the most mesmerising experiences.
The Prestige is the magic trick that keeps on giving and one of Nolan’s most philosophical films. I wish that I could unsee the Prestige and be wowed the first time by its deception and misdirection all over again, it is a genuine illusion of a film with the answer staring you in the face all the time. Over much thought I have began to read the Prestige as a sort of personal statement about the way Nolan crafts his films, like a grand illusion to make the audience believe in the impossible, though the Prestige is also a cautionary tale about obsession and competition with a subtextual narrative about rise of electricidal technology that would come to define our society. Christian Bale and Hugh Jackman's onscreen rivalry is twisted and deadly, the price of two artists trying to outsmart the other and keep their secrets hidden. It also bodes well with how Nolan is interested in the strength of technology, but he remains a very analogue filmmaker, holding onto a traditional form of craftsmanship. The Prestige is a testament to that craft and symbolises the hard work that Nolan puts in as a director to create the most mesmerising experiences.

3: Dunkirk (2017)


Dunkirk was my first experience seeing a film in IMAX 70mm (Nolan’s primal format) which became the next level of cinematic experience, never before had I felt such immersion and constant excitement. Dunkirk may be Nolan's sharpest handling of pure cinematic language. Nolan is often referred to as arthouse filmmaker with a blockbuster style, and Dunkirk is one of the ultimate testimonies to that theory. Nolan simultaneously minimises the plot and yet enhances the immersion into an all encompassing time bomb of survival set during the evacuation on Dunkirk beach. Nolan’s three converging timelines might sound unnecessarily complicated, but the genius is they seamlessly intertwine and thread the overlapping tension with each set of characters. Cinematographer Hoyte van Hoytema captures some beautifully haunting shots and poetic imagery in this war zone with another tantalizing score by Hans Zimmer that continuously builds anxiety and threat as well as overwhelming triumph when the miracle arises.
Dunkirk was my first experience seeing a film in IMAX 70mm (Nolan’s primal format) which became the next level of cinematic experience, never before had I felt such immersion and constant excitement. Dunkirk may be Nolan's sharpest handling of pure cinematic language. Nolan is often referred to as arthouse filmmaker with a blockbuster style, and Dunkirk is one of the ultimate testimonies to that theory. Nolan simultaneously minimises the plot and yet enhances the immersion into an all encompassing time bomb of survival set during the evacuation on Dunkirk beach. Nolan’s three converging timelines might sound unnecessarily complicated, but the genius is they seamlessly intertwine and thread the overlapping tension with each set of characters. Cinematographer Hoyte van Hoytema captures some beautifully haunting shots and poetic imagery in this war zone with another tantalizing score by Hans Zimmer that continuously builds anxiety and threat as well as overwhelming triumph when the miracle arises.

I attribute my burning love for cinema down to these last two films which is why I struggle to rank either of them above or below the other, I consider them as equally important and beloved.


1: The Dark Knight (2008)


I remember someone describing the Dark Knight being like our ‘generation’s Godfather’ to me that feels apt, it’s very rare to see a ground-breaking prestige picture in the industry these days that has had the same cultural impact as the The Dark Knight, it was a truly defining moment for many cinephiles. We still cherish Heath Ledgers’ legendary performance of the Joker, an iconic reinvention of one most revered comic book villains of all time, still never forgotten or matched. I am forever always grateful to my mother who took me to see it when I was only 9, a brave decision but I never suffered from any night terrors just the start of an enduring love affair. It was the Dark Knight that compelled me to make going to the cinema a regular activity, standing among the crowd against other films I enjoyed, but complex in its themes and mullite-layered storytelling. At the time it is not something that I would have fully understood, but what remains very significant about the Dark Knight to me is its visceral wrestling over the ideologies of good and evil. It’s not just that good and evil are separate entities, but they live on a spectrum and one can easily become the other. "You either die a hero, or you live long enough to see yourself become the villain". A statement that has only become more prophetic as the years go by.
I remember someone describing the Dark Knight being like our ‘generation’s Godfather’ to me that feels apt, it’s very rare to see a ground-breaking prestige picture in the industry these days that has had the same cultural impact as the The Dark Knight, it was a truly defining moment for many cinephiles. We still cherish Heath Ledgers’ legendary performance of the Joker, an iconic reinvention of one most revered comic book villains of all time, still never forgotten or matched. I am forever always grateful to my mother who took me to see it when I was only 9, a brave decision but I never suffered from any night terrors just the start of an enduring love affair. It was the Dark Knight that compelled me to make going to the cinema a regular activity, standing among the crowd against other films I enjoyed, but complex in its themes and mullite-layered storytelling. At the time it is not something that I would have fully understood, but what remains very significant about the Dark Knight to me is its visceral wrestling over the ideologies of good and evil. It’s not just that good and evil are separate entities, but they live on a spectrum and one can easily become the other. "You either die a hero, or you live long enough to see yourself become the villain". A statement that has only become more prophetic as the years go by.


1: Inception (2010)

The Dark Knight may have began my journey with cinema, but Inception would come to define what I look for in a film. Inception took the science fiction genre to a captivating and intricate level that influenced me to keep my brain highly engaged. Inception possessed impossible spectacle and the infinite possibilities of what cinema could be, what laws and rules it can defy, and the psychological narratives it can shape, this became my immediate obsession. I remember counting the days for the ‘next Inception’ during the following decade, yet nothing has come close to it. My relationship with Inception is not just based on its thrills and gravity defying set pieces, but over time has become more prominent as an emotionally intimate reflection of guilt and subjective reality. From Inception Nolan’s collaboration with Hans Zimmer birthed arguably his greatest piece of music ‘Time’, a piece that has undeniable power even outside of the context of the film. Inception fills me with an awe-inspiring melancholy that is both hopeful and trepidatious, a feeling I cannot even describe but a sensation that has come to define me and my relationship to art itself. Inception showed me what film really is, a dream, a dream that is like a safe where our deepest regrets and desires can be stored and created, the very fabric of our being can be found there, you just have go deep enough to find it.
The Dark Knight may have began my journey with cinema, but Inception would come to define what I look for in a film. Inception took the science fiction genre to a captivating and intricate level that influenced me to keep my brain highly engaged. Inception possessed impossible spectacle and the infinite possibilities of what cinema could be, what laws and rules it can defy, and the psychological narratives it can shape, this became my immediate obsession. I remember counting the days for the ‘next Inception’ during the following decade, yet nothing has come close to it. My relationship with Inception is not just based on its thrills and gravity defying set pieces, but over time has become more prominent as an emotionally intimate reflection of guilt and subjective reality. From Inception Nolan’s collaboration with Hans Zimmer birthed arguably his greatest piece of music ‘Time’, a piece that has undeniable power even outside of the context of the film. Inception fills me with an awe-inspiring melancholy that is both hopeful and trepidatious, a feeling I cannot even describe but a sensation that has come to define me and my relationship to art itself. Inception showed me what film really is, a dream, a dream that is like a safe where our deepest regrets and desires can be stored and created, the very fabric of our being can be found there, you just have go deep enough to find it.


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