Not to be left out of the Oscar campaign opportunities at the Toronto International Film Festival, Christopher Nolan capitalized on a chance to project his summer blockbuster “Dunkirk” at the world’s original IMAX, Toronto’s restored Cinesphere. Afterward, he said the movie never looked so good — it was one of 35 70 mm IMAX prints. From my perspective, it was sublime, clear, crisp, and even more emotional than the first time I saw it at Universal CityWalk (one of Nolan’s favorite 70 mm IMAX venues, along with the Metreon in San Francisco and Lincoln Square in New York).
Over tea at an afterparty, Nolan asked: “And how is ‘Darkest Hour’?”
The films are complementary: one is an immersive, almost-silent action epic that brilliantly toys with three disjunctive time frames. (During the