This week we sine our pitty and belt-whip our way into Pootie Tang, the 2001 comedy written and directed by Louis C.K., starring Lance Crouther, Chris Rock, and Wanda Sykes. Born from a sketch on The Chris Rock Show, the film follows Pootie Tang, a smooth-walking, nonsense-speaking folk hero who takes on an evil corporation trying to push cigarettes, booze, fast food, and general dirty-dog behavior onto kids. It flopped hard in theaters, baffled critics, and somehow kept whispering “wa-da-tah” into pop culture’s ear for decades. Does Pootie Tang get too cool for its own words, or is this runny kine actually worth the running time? Sa da tay or sa da stay?

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Release Details

Title: Pootie Tang

Year: 2001

Director: Louis C.K.

Writer: Louis C.K.

Top Billed Stars: Lance Crouther, Chris Rock, Wanda Sykes, Jennifer Coolidge, Robert Vaughn, Reg E. Cathey, J.B. Smoove

Running Time: 81 minutes

Country of Origin: United States

Official Release Date: June 29, 2001, United States

Distributor: Paramount Pictures

Budget / Box Office: Reported budget around $7 million; worldwide/domestic gross roughly $3.3 million, making it a clear theatrical flop.

Other Notable Projects

Louis C.K. — Writer/Director

Before Pootie Tang, Louis C.K. wrote for Late Night with Conan O’Brien, The Dana Carvey Show, and The Chris Rock Show. After this, he became far more associated with stand-up and television, especially Louie. Pootie Tang stands out as a bizarre early directing credit that feels both wildly personal and visibly compromised.

Chris Rock — Producer / Multiple Roles

Chris Rock had already broken through with stand-up, Saturday Night Live, CB4, and The Chris Rock Show. Here, he serves as producer and appears in multiple roles, including Pootie’s father and JB. Relative to Rock’s career, this film feels like a strange side mission: a sketch-world expansion that was probably too strange for mainstream theatrical comedy in 2001.

Lance Crouther — Pootie Tang

Crouther’s performance is the whole movie’s gravitational center. He barely speaks intelligible English, but his physical confidence sells the joke. That is the tightrope: if Pootie is too silly, the movie collapses; if he is too serious, the joke dies. Crouther somehow plays him like a legendary figure whose language barrier is everyone else’s problem.

Wanda Sykes — Biggie Shorty

Sykes brings the film some of its sharpest readable comic energy. Around this era, she was emerging as a major comedic voice through stand-up, television writing, and screen appearances. In Pootie Tang, she works like a translator for the madness without ever fully explaining it.

Jennifer Coolidge — Ireenie

Coolidge was coming off major comedy visibility from American Pie and Best in Show. Her role here fits her early-2000s specialty: characters who seem to exist in their own private weather system.

Reg E. Cathey — Dirty Dee

Cathey later became widely known for The Wire, House of Cards, and Fantastic Four. As Dirty Dee, “he’s still dirty,” which is maybe the most Pootie Tang character logic imaginable.

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Some songs come from the heart. Some come from the pain. And some, apparently, come from standing a little too close to Paul Rudd when he’s working through his feelings. This week, we tune up for Power Ballad, the new John Carney film starring Paul Rudd, Nick Jonas, and Havana Rose Liu, about a washed-out musician whose original song becomes the comeback anthem for a fading pop star who may have skipped one very important step: giving credit. So does Power Ballad hit that perfect chorus of comedy, heartbreak, and musical revenge, or did this one just lip-sync its way through the theaters?

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Release Details

Title: Power Ballad

Year: 2026

Director: John Carney

Writer(s): John Carney and Peter McDonald

Top Billed Stars: Paul Rudd, Nick Jonas, Peter McDonald, Marcella Plunkett, Havana Rose Liu, Jack Reynor

Running Time: 98 minutes

Country of Origin: United States / Ireland

Official Release Date(s): World premiere at Dublin International Film Festival on March 1, 2026; U.K. and Ireland release/select U.S. theaters on May 29, 2026; wider U.S. release on June 5, 2026.

Other Notable Projects

John Carney — Director / Co-Writer

Carney’s major comparison points are Once, Sing Street, Begin Again, and Flora and Son. Power Ballad fits his recurring interest in ordinary people using music to reclaim identity, but this one adds a more comedic revenge angle and a bigger celebrity-vs-working-musician contrast.

Peter McDonald — Co-Writer / Cast Member

McDonald co-writes with Carney and also appears as Sandy. That dual role matters because the film seems built around conversational rhythm, music-scene specificity, and character comedy rather than pure plot machinery.

Paul Rudd — Rick Power

Rudd brings decades of goodwill from comedy, indie drama, and blockbuster work, including Marvel’s Ant-Man and Avengers: Endgame. Here, the interesting move is putting that familiar affability inside a character whose wound is professional invisibility.

Nick Jonas — Danny Wilson

Jonas’s music background gives Danny instant credibility as a pop performer, while his film work includes mainstream projects like Jumanji: Welcome to the Jungle. The film uses his real-world pop-star aura to make Danny both magnetic and suspiciously polished.

Havana Rose Liu — Marcia

Liu’s presence gives the supporting cast a more contemporary indie-film flavor; she is part of the official credited ensemble alongside Rudd, Jonas, McDonald, Plunkett, and Reynor.

Jack Reynor — Mac

Reynor reteaming with Carney is notable because he previously worked with him on Sing Street. His casting gives the film another bridge back to Carney’s earlier Irish music-story world.

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This week we are engulfed by The Mist, Frank Darabont's 2007 creature-feature turned existential gut-punch, starring Thomas Jane, Marcia Gay Harden, and Laurie Holden, based on Stephen King's novella. After a violent storm, a mysterious mist traps survivors inside a Maine grocery store, where the danger outside may be nothing compared to the fear growing within. The Mist arrived in theaters to mixed fanfare, was overshadowed at the box office, and then quietly became one of the most passionately defended genre films of the 2000s. Are we card-carrying members of the cult or did we find that the fog of nostalgia obscured some cracks in the foundation? Find out on this Cult Classics review on Good Film Hunting!

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Release Details

Title: The Mist

Year: 2007

Director: Frank Darabont

Writer(s): Frank Darabont (screenplay); based on the novella by Stephen King

Top Billed Stars: Thomas Jane, Marcia Gay Harden, Laurie Holden, Andre Braugher, Toby Jones

Running Time: 126 minutes (color theatrical cut); 127 minutes (black and white version)

Country of Origin: United States

Official Release Date: November 21, 2007 (USA theatrical)

Other Notable Projects

Frank Darabont (Director)

Darabont's three theatrical features form one of the most remarkable Stephen King adaptation trilogies in Hollywood history. The Shawshank Redemption (1994) remains one of the highest-rated films on IMDb and earned seven Oscar nominations. The Green Mile (1999) was another King adaptation and another commercial and critical success. The Mist was his third and final theatrical King adaptation — and arguably his most formally daring, precisely because it ends on a note of utter nihilism that neither Shawshank nor Green Mile would ever risk. His subsequent work on The Walking Dead's first season is considered by many fans to be the high-water mark of the series; his abrupt firing by AMC in 2011 remains one of TV's more infamous behind-the-scenes stories.

Thomas Jane (David Drayton)

Jane had built solid genre credentials before The Mist via Boogie Nights (1997), Deep Blue Sea (1999), and The Punisher (2004). The Mist remains his most emotionally demanding screen performance — the final scene in particular requires him to carry an almost unbearable dramatic weight in complete silence. He returned to Stephen King territory with the Netflix film 1922 (2017), another critically admired adaptation. Jane has spoken publicly about The Mist being the role he's most proud of.

Marcia Gay Harden (Mrs. Carmody)

Harden won the Academy Award for Best Supporting Actress for her portrayal of Lee Krasner in Pollock (2000). Her Mrs. Carmody sits at the opposite end of the performance spectrum — raw, unhinged, and deliberately theatrical in a way that rewards the film's allegorical ambitions. Her work in Mystic River (2003) and Into the Wild (2007) reinforced her range; The Mist remains a cult-defining turn.

Laurie Holden (Amanda Dunfrey)

Holden appeared in Darabont's Silent Hill (2006) before The Mist, and went on to play Andrea in The Walking Dead — cementing her status as a Darabont ensemble regular. Her Andrea arc on TWD was famously controversial among fans, but her measured, humanizing work in The Mist is exactly the kind of grounded performance that keeps the film tethered when its wilder elements threaten to untether it.

Andre Braugher (Brent Norton)

Braugher brings an enormous amount of dramatic authority to the role of Norton, the Drayton family's skeptical neighbor whose rationalism ultimately destroys him. Known at the time primarily for Homicide: Life on the Street and Glory (1989), Braugher later became a comedy icon via Brooklyn Nine-Nine (2013–2021). The Mist catches him in a transitional period — and his willingness to play a character the audience is meant to both admire and watch be ground down by stubbornness is quietly one of the film's most interesting performances.

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This week we check into Hokum (written and directed by Damian McCarthy), where the concierge seems off, the honeymoon suite has baggage, and where a case of writer’s block is probably better handled at home. This film takes us into the Irish countryside, where Adam Scott plays a reclusive horror novelist who visits a remote inn to scatter his parents’ ashes, only to get pulled into tales of a witch haunting the honeymoon suite and a disappearance that cracks open his own past. So is Hokum a chilling throwback to old-school gothic horror, or does this haunted honeymoon suite leave modern audiences waiting for a scare that never checks in?

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Release Details

Title: Hokum

Year: 2026

Director: Damian McCarthy

Writer: Damian McCarthy

Top Billed Stars: Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Will O’Connell, Michael Patric, Brendan Conroy, Austin Amelio

Running Time: 107 minutes

Country of Origin: Ireland / United Arab Emirates

Official Release Date(s): World premiere at SXSW on March 14, 2026; U.S. theatrical release through Neon on May 1, 2026; UK/Ireland release also listed for May 1, 2026; some international markets, including Australia/UAE-related listings, show late April/May regional dates.

Other Notable Projects

Damian McCarthy — Director/Writer

McCarthy’s key context is Caveat and Oddity, both of which built his reputation around controlled spaces, eerie objects, folk/supernatural dread, and the sense that moral rot invites supernatural consequences. Hokum is the “next step” movie: bigger star, wider release, same basic fascination with guilt, enclosed locations, and fear that creeps in from the edges of the frame.

Adam Scott — Ohm Bauman

Scott brings a fascinating career split into this: beloved comic roles in Step Brothers, Party Down, and Parks and Recreation, plus darker dramatic work in Severance and now Hokum. The Washington Post specifically frames the film as Scott leaning into his “jerk” side while still using the vulnerability that has powered his recent prestige work.

Peter Coonan — Mal

Coonan gives the film local texture and suspicion, functioning as part of the Irish ensemble that keeps Ohm off-balance. For the episode, he is useful to discuss as part of the film’s “outsider enters a closed local ecosystem” setup — the people around Ohm are not just exposition machines, they are part of the threat environment.

David Wilmot — Jerry

Wilmot appears to be one of the film’s tonal wild cards. Reviews highlight Jerry as part of the movie’s off-kilter folk-horror personality, helping keep the film from becoming only gloomy grief horror.

Florence Ordesh — Fiona

Fiona is central to the mystery engine: her disappearance is what pushes Ohm deeper into the hotel’s secrets. That makes her less a side character than the story’s pressure point — the person whose absence forces the movie to move from creepy atmosphere into investigation.

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Shelby Oaks may sound like the kind of place where you’d buy antiques, homemade apple cider, or maybe a rocking chair with an odd stain, but this week we wander into the woods of Shelby Oaks for the 2025 theatrical horror mystery written and directed by Chris Stuckmann. Starring Camille Sullivan as Mia, the film follows as she obsessively searches for answers after her sister Riley vanished while investigating the titular abandoned town with her paranormal web series crew. Did Shelby Oaks plant the seeds for a new horror filmmaker to grow? Find out on this episode of Good Film Hunting.

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Release Details

Title: Shelby Oaks

Year: 2025 theatrical release; world premiere was in 2024

Director: Chris Stuckmann

Writer(s): Chris Stuckmann; story by Chris Stuckmann and Samantha Elizabeth

Top Billed Stars: Camille Sullivan, Brendan Sexton III, Keith David, Sarah Durn, Michael Beach

Running Time: 91 minutes, though some festival/review listings used earlier runtimes around 99–102 minutes

Country of Origin: United States

Official Release Date(s): World premiere: July 20, 2024 at Fantasia; U.S. theatrical release: October 24, 2025 via Neon; U.K. release: October 31, 2025

Genre: Horror / Mystery / Thriller

Other Notable Projects

Chris Stuckmann — Best known before this as a long-running YouTube film critic, Stuckmann’s importance here is less about prior directing credits and more about the leap from criticism to creation. Shelby Oaks is the career pivot, the proof-of-concept, and the lightning rod all at once.

Mike Flanagan — Executive producer here, and a major name in modern horror through projects like Oculus, The Haunting of Hill House, Doctor Sleep, Midnight Mass, and The Fall of the House of Usher. His connection matters because his brand is character-first horror with grief, belief, trauma, and dread — all things Shelby Oaks appears to be reaching toward.

Camille Sullivan — Plays Mia, the emotional center of the film. Her job is not just to be scared; she has to sell obsession, grief, and the dangerous belief that a missing loved one might still be reachable. That makes her performance crucial to whether the movie works as more than a spooky scavenger hunt.

Sarah Durn — Plays Riley, the missing sister and member of the Paranormal Paranoids. Because Riley exists partly through recordings, memory, and investigation, the role has to function almost like a ghost before the supernatural fully takes hold.

Keith David — A genre legend whose presence instantly gives the movie weight. His broader career includes The Thing, They Live, Platoon, Requiem for a Dream, and extensive voice work. In a smaller horror film, he brings instant credibility and texture.

Michael Beach — A reliable character actor with credits across film and television, including Aquaman, Sons of Anarchy, Third Watch, and Mayor of Kingstown. In a movie like this, actors like Beach help ground the weirdness in believable human stakes.

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This week we stroll into Normal, which is exactly the kind of town name that immediately tells you it is anything but... Directed by Ben Wheatley and written by Derek Kolstad, the film stars Bob Odenkirk, Henry Winkler, and Lena Headey in a small-town action comedy about a temporary sheriff whose sleepy new posting turns into a violent little snow globe full of secrets. So, is Normal worth the watch, or when you happen along this little town should you keep on driving?

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RELEASE DETAILS

Title: Normal

Year: 2026 U.S. theatrical release; world premiered at TIFF in 2025

Director: Ben Wheatley

Writer(s): Derek Kolstad; story by Derek Kolstad and Bob Odenkirk

Top-Billed Stars: Bob Odenkirk, Henry Winkler, Lena Headey, Jess McLeod, Billy MacLellan

Running Time: 90 minutes

Country of Origin: United States

Official Release Date(s): World premiere: September 7, 2025 at TIFF Midnight Madness; U.S. theatrical release: April 17, 2026 via Magnolia Pictures; U.K./Ireland release: May 15, 2026.

OTHER NOTABLE PROJECTS

Ben Wheatley — Director

Wheatley’s career is a strange little buffet of dread, violence, and genre experiments. Kill List gave him cult credibility as a filmmaker who could turn crime into folk-horror nightmare fuel. Free Fire is probably the closest cousin to Normal, because it also treats gun violence as slapstick escalation in a confined pressure cooker. High-Rise showed his taste for social collapse, while Meg 2: The Trench proved he could step into larger studio machinery without completely sanding off his weird edges.

Derek Kolstad — Writer

Kolstad’s big shadow here is obviously John Wick, where he helped build the modern language of sleek assassin-world action. But Normal is more directly connected to Nobody, because Bob Odenkirk’s action persona comes from that same “ordinary-looking man, extraordinary violence” lineage. The difference is that Normal bends that setup into a more communal conspiracy: less “one man’s hidden past,” more “this entire town needs a therapist and maybe federal oversight.”

Bob Odenkirk — Ulysses

Odenkirk’s path from Mr. Show to Breaking Bad to Better Call Saul to action lead remains one of the oddest and most delightful career pivots in modern Hollywood. Nobody made the leap believable; Normal tests whether audiences will keep buying him as a bruised, funny, reluctant action figure outside that franchise. His gift is that he never looks like he was born for violence — he looks like violence keeps interrupting his day.

Henry Winkler — Mayor Kibner

Winkler brings an entire lifetime of warmth into a role that benefits from audience trust. From Happy Days to Barry, his screen persona can go from comforting to unsettling without changing volume. That matters in Normal, because casting Winkler in a town-leader role immediately makes the place feel cozy — which makes the rot underneath play funnier and nastier.

Lena Headey — Moira

Headey’s Game of Thrones legacy gives her instant authority whenever she enters a room, but she has also built a career on characters who can make stillness feel dangerous. In Normal, that energy helps ground the town’s oddball violence in something a little sharper than pure cartoon chaos.

Jess McLeod — Alex

McLeod gives the film a younger counterweight to Odenkirk’s weary sheriff. Relative to the bigger names, this is the kind of supporting role that can sneak up on viewers because it starts as part of the town’s texture and gradually becomes more important to the movie’s emotional and survival mechanics.

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This week we accidentally no-clip into Backrooms, the new A24 liminal nightmare from director Kane Parsons, starring Chiwetel Ejiofor, Renate Reinsve, and Mark Duplass. A strange doorway appears beneath a furniture showroom, and what starts as one man’s impossible discovery turns into a fluorescent-lit descent through spaces that feel like an abandoned office park mixed with a living nightmare. Is Backrooms worth the watch or do we really just want to wallpaper over this corner of our brain?

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RELEASE DETAILS

Title: Backrooms

Year: 2026

Director: Kane Parsons

Writer(s): Will Soodik

Top-Billed Stars: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell

Running Time: 105 minutes

Country of Origin: United States

Official Release Date(s): May 29, 2026 — theatrical release

OTHER NOTABLE PROJECTS

Kane Parsons — The Backrooms YouTube series

This is the whole reason the film exists. Parsons’ web series gave him a recognizable horror grammar before he ever made a feature: found-footage framing, liminal spaces, analog unease, and worldbuilding that feels discovered rather than explained.

Will Soodik — Westworld, The Peripheral

Soodik’s background in puzzle-box sci-fi television makes sense here. Backrooms needs enough structure to sustain a movie, but not so much that the mystery gets flattened into lore homework.

Chiwetel Ejiofor — 12 Years a Slave, Doctor Strange, Children of Men

Ejiofor brings immediate emotional gravity to a premise that could otherwise feel purely conceptual. That matters because Backrooms needs a human anchor inside a world designed to erase humanity.

Renate Reinsve — The Worst Person in the World, Handling the Undead

Reinsve is especially interesting casting because she excels at interiority — characters thinking, doubting, unraveling. For a therapist entering an irrational space, that restraint can be more valuable than big horror theatrics.

Mark Duplass — Creep, The One I Love, The Morning Show

Duplass has a long history with intimate, unsettling stories where ordinary conversation curdles into danger. His presence also matters behind the scenes because he became one of Parsons’ most vocal public defenders during the film’s release week.

James Wan / Osgood Perkins / Shawn Levy — producers

That producer lineup is bizarre in the best way: mainstream horror engine, arthouse dread merchant, and blockbuster storyteller. It suggests A24 knew this property needed both internet weirdness and serious production scaffolding.

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This week on Good Film Hunting, we’re cracking open Wake Up Dead Man: A Knives Out Mystery, the third Benoit Blanc case from writer-director Rian Johnson. Starring Daniel Craig back as the world’s most polite Southern detective, alongside Josh O’Connor and Glenn Close, this time Blanc steps into a darker, more faith-soaked mystery involving a small-town church, a suspicious death, and secrets buried deeper than confession. Were we Knives Out for this mystery or did we find it… dull ?

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Release Details

Title: Wake Up Dead Man: A Knives Out Mystery

Year: 2025

Director: Rian Johnson

Writer: Rian Johnson

Top Billed Stars: Daniel Craig, Josh O’Connor, Glenn Close, Josh Brolin, Mila Kunis

Running Time: Approx. 2h 20m

Country of Origin: United States

Official Release Dates:

Limited theatrical run: November 2025

Streaming (Netflix): December 2025

Other Notable Projects

Rian Johnson

Knives Out – Reinvented the modern whodunit

Glass Onion – Satire-forward sequel

Looper – High-concept sci-fi with moral weight

Wake Up Dead Man feels like Johnson merging his mystery instincts with the thematic gravity of Looper.

Daniel Craig

Casino Royale – Reinvented Bond

Logan Lucky – Proved his comedic timing

Knives Out – Introduced Benoit Blanc

This role continues Craig’s post-Bond career pivot into character-driven performances.

Josh O’Connor

The Crown – Breakout prestige role

Challengers – Modern leading-man turn

Here, he brings restrained intensity that contrasts Blanc’s eccentricity.

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This week we make one little wish and immediately regret it in Obsession, the new supernatural horror film written and directed by Curry Barker. The film follows Michael Johnston as Bear, a lonely music store employee who uses a mysterious “One Wish Willow” to make his crush Nikki love him, only to discover that forced affection comes with a very bloody return policy. So, did Obsession cast a spell on us or do we wish for our 108 minutes back?

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Title: Obsession

Year: 2026 theatrical release; premiered in 2025

Director: Curry Barker

Writer: Curry Barker

Top Billed Stars: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter

Running Time: Approximately 1 hour 48 minutes

Country of Origin: United States

Official Release Date(s): Premiered at TIFF Midnight Madness on September 5, 2025; released in U.S. theaters on May 15, 2026

Distributor: Focus Features in the U.S.; Universal Pictures internationally

Curry Barker — Barker is best known for online horror/comedy work, especially Milk & Serial, which became a calling card for his jump into larger-scale horror. He has also been tied to upcoming genre work, including Anything But Ghosts and development around a new Texas Chain Saw Massacre project, making Obsession feel less like a one-off and more like the arrival of a filmmaker studios are actively betting on.

Michael Johnston — Johnston’s earlier notable work includes playing Corey Bryant on MTV’s Teen Wolf and starring in the indie film Slash. That makes Bear an interesting pivot: he is not playing a clean-cut romantic lead so much as a hollowed-out version of one, where charm and insecurity curdle into horror.

Inde Navarrette — Navarrette is known to many viewers from Superman & Lois, but Obsession gives her a much more extreme showcase. This is the kind of genre role that can redefine an actor fast, because she is not just reacting to horror; she becomes the film’s emotional and physical storm system.

Andy Richter — Richter is best known for comedy, especially his long association with Conan O’Brien and voice work such as the Madagascar films. His presence is worth noting because Obsession reportedly mixes discomfort with moments of dark humor, and casting a recognizable comic figure can subtly tilt the audience’s expectations before the horror tightens.

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This week we travel back to 2014 with Interstellar, Christopher Nolan’s cosmic gut-punch starring Matthew McConaughey, Anne Hathaway, and Jessica Chastain. Set in a dying future where Earth is running out of food and time, former pilot Cooper joins a desperate mission through a wormhole in search of humanity’s next home. But does Interstellar truly launch into greatness, or did we find ourselves lost in space?

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Title: Interstellar

Year: 2014

Director: Christopher Nolan

Writer(s): Jonathan Nolan, Christopher Nolan

Top Billed Stars: Matthew McConaughey, Anne Hathaway, Jessica Chastain, Michael Caine, Matt Damon

Running Time: 2h 49m / 169 minutes

Country of Origin: United States, United Kingdom

Official Release Date(s): U.S. theatrical rollout began November 5, 2014, with wide theatrical release dated November 7, 2014; U.K. release was November 7, 2014. Rotten Tomatoes currently lists the wide theatrical release as November 7, 2014.

Christopher Nolan: Memento, The Dark Knight, Inception, Dunkirk, Oppenheimer. Interstellar sits in a fascinating middle zone of Nolan’s career: less crime-clockwork than Memento, less pure puzzle-box than Inception, and more emotionally naked than a lot of his filmography.

Jonathan Nolan: The Dark Knight, The Dark Knight Rises, and later co-creating Westworld and Fallout. His fingerprints help explain why Interstellar has both high-concept mechanics and a strong current of existential dread.

Matthew McConaughey: Dallas Buyers Club, Mud, True Detective. This was right in the middle of the “McConaissance,” and the movie leans heavily on his ability to make cosmic scale feel personal.

Anne Hathaway: The Devil Wears Prada, Les Misérables, The Dark Knight Rises. Her role here is key because she has to sell both the intellectual and emotional arguments of the film without making either feel silly.

Jessica Chastain: Zero Dark Thirty, The Help, later The Martian and The Eyes of Tammy Faye. Her work gives the Earthbound half of the story a lot of its urgency and heartbreak.

Michael Caine: The Dark Knight Trilogy, The Cider House Rules, Children of Men. By this point he had become one of Nolan’s secret weapons: the guy who can turn exposition into gravitas.

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