What keeps Trank coming back, however, is his ability to craft some really great scenes. Dark, moody and – at times – self-destructive, it feels like Capone’s material speaks to Trank’s personality and career in a personal way, but much like his other projects, it never quite comes together with an overarching big idea.
Read MoreThe raging debate now isn’t whether or not Dunkirk’s the best summer film to date -- because it undoubtedly is -- but whether or not this is Nolan’s finest work on a resume that has no major blemishes. I would argue this is definitely Nolan’s best film because this is a technical Nolan at his technical best, and his expertise shines through in every single aspect of the film, most notably in using the rule of thirds in both plot structure and developing tension between characters.
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