I think it's pretty good. In Nolan's film, it seems more bland because the contradiction is more internalized. The inner direction of the police is the main line of the story. Will's complex psychological activities, the audio-visual trance caused by insomnia, and the vast dreamy scenery are intertwined, bringing a faint sense of detachment and pulling, like participating in it and staying out of it. (Love that clip of being trapped underwater by driftwood)
The end of the film amplifies a theory that is not very plausible: "The dead are the greater." Basically as long as there is death, the merits and demerits of the person are written off, and the living can wipe out everything in the least turbulent and low-cost way (instead of respecting the facts). This kind of treatment is extremely common in movies, which amplify and complicate conflicts between people and people and their environment. When it is difficult for the audience to make moral judgments about a character, death is the most tricky solution. For example, in Hitchcock's "Vertigo" (Vertigo), the heroine is involved in the murder but falls in love with the male lead. In Hitchcock's films, which emphasize good and evil, they can only arrange for her to die. . Everyone thinks this ending is acceptable (moral), but in fact not holding the dead accountable is also unfair to those who follow the rules. The discussion in the film about the importance of motives and consequences is also very interesting. The police have always been very concerned about the motives of criminals (intentional/negligent), but the same thing happened to them, and they found it difficult to distinguish their thoughts for a moment. The human mind is too complicated. "How strong is the desire to tell the truth and how great the various disturbances are. I sadly find that it is impossible to restore the truth at all."
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