When the floor of the BFI IMAX quakes and the sound thunders up through the seats and into people’s bodies, it’s no false omen. It’s a pant-shaking signal that for the next three, humdinging hours you’re in for a colossal piece of cinema.
Arguments will rage for aeons among Nolanites, but forget Oppenheimer (too biopic-y, not bomb-y enough), Inception or The Dark Knight — this is Christopher Nolan’s most towering achievement yet.
