Insomnia

A tough cop. A brilliant killer. An unspeakable crime.

Release Date 2002-05-24
Runtime 118 minutes
Status Released
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Overview

Two Los Angeles homicide detectives are dispatched to a northern town where the sun doesn't set to investigate the methodical murder of a local teen.

Budget $46,000,000
Revenue $113,714,830
Vote Average 7.0/10
Vote Count 4936
Popularity 3.2722
Original Language en

Backdrop

Available Languages

English US
Title:
"A tough cop. A brilliant killer. An unspeakable crime."
Português PT
Title: Insónia
"Um polícia veterano; um assassino brilhante; um crime hediondo"
Italiano IT
Title:
"Non chiudere gli occhi."
Deutsch DE
Title: Insomnia - Schlaflos
"Ein eiskalter Cop. Ein brillanter Killer. Ein unbeschreibliches Verbrechen."
Español ES
Title: Insomnio
"No cierres los ojos."
Türkçe TR
Title: Uykusuz
"Uyanık ol. Hayatta kal..."

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Cast

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Reviews

talisencrw
9.0/10
Definitely not Nolan's best but probably my favourite (at least tied with 'Batman Begins') because I love the Norwegian original so much AND the subtle changes Nolan made with it, as well as what the three stars (Al Pacino, Robin Williams--in his first villainous role, I believe, and Hilary Swank--in probably my favourite performance of hers, next to the downright decadence and naughtiness she displayed in 'The Black Dahlia') bring to the table here. I greatly enjoyed the five short extras on my DVD (a double-sided disc I bought years ago that has 'The Devil's Advocate' on the other side, yet unwatched): a conversation/interview of Nolan with Pacino; 'Day for Night: The Making of...'; 'In the Fog' (which interviewed cinematographer Wally Pfister); Nathan Crowley: production designer; and 'Eyes Wide Open' (which interviewed sleep disturbance experts), which thankfully I viewed before I watched the movie, to enhance my experience. Greatly recommended to fans of contemporary crime thrillers, regardless of whether you watched the Norwegian original or not. There are enough differences to still make it worth your while as a cinephile.
Gimly
6.0/10
Captures some human sentiment incredibly well, coupled with the unique setting and great acting, this makes Insomnia a good watch, worth every minute of its two hour runtime. That said, I was not as enamoured by it as others might be. Perhaps if was unaware of what Nolan, Pacino or Williams are capable of at their highest levels, or if I didn't realise five minutes before the end that I'd actually seen it as a kid and could exclusively remember the ending, then it would have had a higher impact on me. But even taken for me as is, _Insomnia_ is still a very solid bit of filmmaking. _Final rating:★★★ - I personally recommend you give it a go._
John Chard
9.0/10
A good cop can't sleep because he's missing a piece of the puzzle. And a bad cop cant sleep because his conscience wont let him. Insomnia is directed by Christopher Nolan and written by Erik Skjoldbjærg and Nikolaj Frobenius (1997 screenplay). It stars Al Pacino, Robin Williams, Hilary Swank, Maura Tierney, Martin Donovan and Nicky Katt. Music is scored by David Julyan and cinematography by Wally Pfister. It's a remake of a 1997 Norwegian film of the same name. LAPD detective Will Dormer (Pacino) and his partner Hap Eckhart (Donovan) travel to the remote Alaskan town of Nightmute to aid the local cops investigating the savage murder of a teenage girl. But Dormer leaves behind an Internal Affairs Investigation that gnaws away at him, and when a potential bust of the murder suspect goes tragically wrong, his conscious gets attacked on two fronts. By lack of sleep and by the killer himself. It's a House of Cards. Viewing from afar it's easy to be cynical and suggest that Insomnia is just an American remake cash in. Bigger budget, bigger stars and directed by an indie darling of the critics moving into the big league. While on the surface the plot looks to be another in a long line of cops and villains thrillers where procedural unfolds and evil is ultimately brought down at the end. Yet Insomnia is so much more than that, it's a deep movie dealing in complex psychological issues, a blanc-noir of some character substance, a picture clinically put together around one mans descent into a private hell, with the beautiful Alaskan backdrop perversely claustrophobic and Anthony Mann like in being at one with Will Dormer's fragmented state of mind. Killing changes you. You know that. From the opening moments as we observe a biplane flying over the Alaskan glaciers, accompanied by David Julyan's nerve tingling score, there's a looming air of disquiet. Nolan knows his noir onions, mood is everything and the dense psychological atmosphere is never once breached for the entire movie. Much of the picture is dialogue heavy, gratifyingly so, with the hushed conversations between Pacino and Williams begging the viewer to hang on every word as cop and killer (no spoiler, it's revealed to us early as a necessity) jostle for control of each others soul. What action there is also comes with a side order of otherworldly delights, a chase across floating logs and a stalk through eerie fog being the two particular highlights. Sleep comes at a cost. With three Oscar winners in the cast Nolan had some serious quality to direct, that Pacino, Williams and Swank deliver excellence is high praise for the British director. Pacino actually gives one of his finest late career performances, utterly compelling as Dormer, his haggard face tells of a thousand sorrows, his sleep deprived gait befits a man staring into the abyss. Wally Pfister's photography is on the money, the blend of snow whites and green tinges sparkle from the vistas and the soft brown hues inside the hotel provide the rare moments of tranquillity available to Will Dormer. Across the board Insomnia is a cracker of a movie, a film that goes into the murky depths of the genre to reveal one of the best movies of 2002. 9/10
r96sk
8.0/10
A relatively normal Christopher Nolan movie? Well I never! 'Insomnia' might not be as deeply entwined as what the director usually produces, yet in entertainment terms it is still right up there. I really enjoyed this one, thanks in large part to the performances of Al Pacino and Robin Williams - great to see those two icons onscreen together! You also have some nice visuals, Alaska looks real neat!
JPV852
8.0/10
Haven't watched this one in a while but been on an Al Pacino kick lately. Still holds up and features some great performances from Pacino and Williams. I would've loved to have been a fly on the wall behind the scenes with those two along with Christopher Nolan in his first bigger budget feature ($46 million). Not one of the best crime-thrillers but still well worth a watch. **4.0/5**

Famous Conversations

ELLIE: Didn't want to miss anything.

CHIEF NYBACK: Detective Dormer's not leaving for a few hours.

ELLIE: Good.

CHIEF NYBACK: Maybe you could drive him to Spencer's.

ELLIE: Sure.

ELLIE: Yes, sir.

CHIEF NYBACK: That's all, for now.

WILL: I have to get back.

CHIEF NYBACK: Too bad...

CHIEF NYBACK: Will, you can't blame yourself.

WILL: I had him!

CHIEF NYBACK: It's only gonna make you crazy.

WILL: And then I lost him. In the fog.

CHIEF NYBACK: About how long 'til you heard the suspect's second shot?

WILL: That's I.A.'s pit bull.

CHIEF NYBACK: Wants me to keep him posted on all your movements up here.

WILL: So far.

CHIEF NYBACK: What's the D.A. got them on?

WILL: Four unwarranted shootings, witness intimidation, and cocaine theft.

WILL: Nice kid.

CHIEF NYBACK: Got a love affair with police work. Drives me crazy with it.

WILL: Just after Leland Street.

CHIEF NYBACK: What's that, then?

WILL: What about your shoulder?

ELLIE: Don't worry. I'll have a cool scar.

WILL: No. But I covered it up. I lied.

ELLIE: Why?

WILL: Walter Byrd killed Kay Connell. Her things are in the house.

ELLIE: I know.

WILL: Byrd's dead.

WILL: It's legitimate.

ELLIE: Worth pursuing?

WILL: Not really.

ELLIE: Isn't that the difference between a good cop and a bad cop? A good cop can't sleep 'cause a piece of the puzzle's missing. A bad cop can't sleep 'cause his conscience won't let him. You said that once, remember?

WILL: Duggar called him?

ELLIE: About an hour ago. Said he was more than happy to cooperate.

ELLIE: But here's the thing. I retraced your exact steps according to your statement. You couldn't have seen Detective Eckhart from there. I mean, not in that fog.

WILL: Then change it.

ELLIE: How much closer would you say you were?

WILL: I don't remember.

ELLIE: Five feet? Seven feet?

WILL: I'm going back to the Lodge, Ellie. Still need to go through some of Kay Connell's school records.

ELLIE: Okay.

ELLIE: Oh, I shouldn't have...

WILL: It's okay. Happened a long time ago. He was killed in a fire. In New Mexico.

ELLIE: That must have been awful for you.

WILL: She your only sibling?

ELLIE: Twelve years younger.

WILL: I could say the same thing about you.

ELLIE: Oh. We always have play-offs in the middle of the night. It's the best time.

WILL: Who's playing?

ELLIE: The Puffins and the Hawks. We're in extra innings. The Hawks have a really good line-up this year.

WILL: This murder was in the papers, right?

ELLIE: Yeah. All over.

WILL: Call all of them from here to Anchorage. Tell them we now know that Kay Connell left the party with a dark blue knapsack, but we haven't recovered it yet. We can get it in by the morning editions.

WILL: Who's that?

ELLIE: The bartender at Darrow's. He was there Friday night.

WILL: Good. He's up next.

WILL: I want you to check this out, Ellie.

ELLIE: We already did.

WILL: Do it again.

ELLIE: But there wasn't any...

WILL: Typical seventeen year-old. She went to a party Friday night?

ELLIE: Down at a local dive the kids like to hang out in.

WILL: Don't give misdemeanors a bad rap.

ELLIE: But they're so boring. All small stuff.

WILL: It's all about the small stuff. Small lies. Small mistakes. Small oversights. People give themselves away in a traffic violation just as much as they do in a murder case. It's human nature.

WILL: Guess that's what they call Alaskan hospitality.

ELLIE: Don't worry about him...

WILL: You did your homework, Officer.

ELLIE: Actually...

WILL: My partner...

ELLIE: Detective Eckhart! I know! Welcome to Nightmute!

FARRELL: Oh, you know. Don't feel that much. Bullet went right through.

WILL: Right. Got lost in the rocks.

FARRELL: We'll get the other one, though.

WILL: Thanks.

FARRELL: I wish I'd had the chance to get to know him better. Take him fishing or something.

WILL: He would have liked that.

FARRELL: We just gotta catch the bastard, right?

WILL: That's why I'm here. I need to know exactly what you saw yesterday, Farrell.

FARRELL: What I saw?

WILL: Anything. It's important.

FARRELL: Sorry about...

WILL: Where is he?

WILL: That's right.

FRED: Mrs. Connell found this copy in the house. It's signed. Personally.

WILL: So?

FRED: This is a local writer. Kay had all his books. I think we should check it out.

WILL: No.

FRED: One of the paperbacks we found in Kay Connell's knapsack.

WILL: Good.

FRED: And something else that might interest you.

FRED: Forget your pager?

WILL: What?

FRED: I beeped you over two hours ago.

FRED: I'll call him now.

WILL: First I need a copy of the key.

FRED: Dormer. Still no sign of the bullet that went through Farrell.

WILL: I'm going to the hospital to talk to him now. You get the search party together. No fewer than thirty people. I'll meet you in exactly twenty-five minutes. Don't waste any time.

FRED: What are you doing here?

WILL: I told her to come.

FRED: I'll stick it in the evidence locker...

WILL: No.

WILL: We're sure it's hers?

FRED: Has her books in it.

WILL: Who was the last one to see her alive?

FRED: Randy Stetz. Her boyfriend. We've questioned him, searched his place. Didn't find anything.

FRED: She left the party early. Friends said she had a fight with her boyfriend and stormed out.

WILL: What time was that?

FRED: Around twelve-thirty.

FRED: No.

WILL: No fibers, skin flakes, hairs...

FRED: Like I said, no. We know about those things up here.

FRED: Are you sure about that?

WALTER: She'd come to me, sometimes in the middle of the night. Bruises all over her back, her upper arms. I pled with her to let me call the police, but she wouldn't hear it. Wanted to keep it a secret.

FRED: Randy Stetz?

WALTER: That's right.

WALTER: She wasn't happy. I was someone to talk to.

FRED: How do you mean?

WALTER: That boyfriend. Randy.

FRED: Where you signed this?

WALTER: That's right.

FRED: What happened at that signing?

WALTER: She flattered me about my writing. Asked if she could visit me. To talk about my books.

FRED: Did she?

WALTER: Yes. Not that much at first. But then she became more comfortable. Started visiting me every week...

HAP: I'm thinking I could get off with probation. Keep half my pension. That's all I want.

WILL: Goddammit, Hap. Think about what you're doing...

HAP: You don't have to be involved, Will.

WILL: You tell Buck and I'm involved whether I like it or not...

HAP: I wish I could stick it out like you. I just, with Trish and the kids...

WILL: Don't do this, Hap...

WILL: Looks like the natives are restless.

HAP: Will?

WILL: Well her mother didn't buy them for her.

HAP: What are we thinking?

WILL: Weston Dobbs killed an eight year-old boy and left him hanging in the basement like a piece of meat. You remember that?

HAP: You know I remember that.

WILL: One word to I.A. and he walks.

HAP: Maybe not. We could talk to Buck...

WILL: No way.

HAP: Cut some kind of a deal. I heard that's what Flynn's doing...

WILL: Mike Flynn's a dirty cop, Hap! We are nothing like Mike Flynn. We did what we needed to do to make sure that son-of- bitch Dobbs paid for what he did. And every bastard like him. We say one word about it and every case we ever brought in is going to blow wide open and they'll all walk. Every last one. And I am not going to let that happen. No deals. No compromises. No discussions.

WILL: We'll talk when we get back to Seattle.

HAP: When's that, a week? Two weeks?... We have to figure out a plan of action now.

WILL: You know my plan of action.

HAP: To do nothing.

WILL: That's right.

HAP: Dammit, Will. Warfield had me locked up in his office again for five hours yesterday. Five hours. Asking all kinds of questions...

WILL: He's asking everybody questions.

HAP: But he's zeroing in on me. On us. Everyone's talking about it.

WILL: He's just rattling your cage.

HAP: Well, I gotta tell you. With a wife, three kids, and a pension plan in the balance, it's rattling hard.

WILL: We say nothing. It goes away. Simple as that.

WILL: What do you want to talk about?

HAP: You know what about.

WILL: He knew exactly what we'd be looking for. Made sure to cover up all his tracks.

HAP: Even the best make mistakes.

WILL: They're all over everybody.

HAP: I.A.'s calling themselves the "Corruption Task Force." Can you believe that? Trying to root out any mistakes or "oversights" any other Detectives may have made over the years. They're turning it into a witch hunt. Something on the news about it practically every night.

HAP: Eight years.

WILL: Seven years.

RACHEL: What if someone finds out?

WILL: We're under investigation now. Back in Seattle. Hap wanted to talk. As soon as we got back. Thought he could work out some kind of deal.

RACHEL: Will.

WILL: There've been other cases. Where we've changed results. Pushed witnesses. Manipulated evidence. But Dobbs. I wanted Dobbs more than anything.

RACHEL: One of your cases?

WILL: Me and Hap. A year and a half ago. I knew the second I met Dobbs that he was guilty. Smug, cold. Dead eyes. We had circumstantial evidence, but nothing to tie him to it. Nothing concrete. Went over every inch of that apartment.

RACHEL: Will...I...

WILL: What is it?

RACHEL: There's a guy down the hall. Complaining about the noise. Says he can't sleep.

WILL: Fred Duggar?

RACHEL: No. He didn't say what his name was. Only that you were expecting him.

WILL: I'm not expecting anyone.

RACHEL: That's not what he thinks.

WILL: What did he look like?

RACHEL: I got it. Don't know why I bother. It's been broken for two years.

WILL: Habit.

RACHEL: Your friend's all business.

WILL: I'm always all business.

RANDY: Thought I smelled something.

WILL: Good to see you, too, Randy.

RANDY: I don't know.

WILL: You don't know.

RANDY: She didn't tell me.

RANDY: I don't know what you're fucking talking about.

WILL: Friday night, at the party - what'd you fight about?

RANDY: Stuff.

WILL: What kind of stuff?

RANDY: Just stuff. I don't fucking remember.

WILL: The other guy?

RANDY: I told you I don't remember.

WILL: After that she left the party to go to him.

RANDY: How should I know?...

WILL: Ran like hell to go to him...

RANDY: Fuck you, man! - I'm sick of all your fucking cop questions...

WILL: "She was nice." Wow. That makes me all soft inside. Ever occur to you she didn't love you back?

RANDY: Huh?

WILL: You heard me that time.

RANDY: She loved me. She wanted to see me every night.

WILL: But she was seeing someone else on the side.

WILL: Did you love her?

RANDY: Huh?

WILL: Kay Connell. Did you love her?

TANYA: It was like some big fucking secret!

WILL: What was?

TANYA: She kept saying she was gonna get out of here. Leave us all behind. That he was going to take her!

WILL: Who?

TANYA: My arm!

WILL: Who?

TANYA: She used some stupid code name.

WILL: What was it?

TANYA: Brody...I don't know... ...Something Brody!

TANYA: I don't know.

WILL: You don't know.

TANYA: She wouldn't tell me!

WILL: But you were such good friends...

TANYA: No...

WILL: Who was Kay seeing besides Randy Stetz?

WILL: You and Kay were like sisters?

TANYA: That's what I said.

WILL: Told each other everything. That why your picture's torn up in the top drawer of her bureau?

TANYA: Hey...

WILL: Thought you wanted something fun...

WILL: You want me to take you somewhere?

TANYA: Long as it's fun.

TANYA: I was her best friend.

WILL: Best friend?

TANYA: Since grade school.

WILL: That's a long time.

TANYA: We were like sisters. Knew everything about each other.

WILL: Must be tough for you. What happened.

TANYA: I never met anyone from Seattle before.

WILL: You're not missing much.

TANYA: What are you doing in this shit-hole town?

WALTER: Wild card.

WILL: Drop the gun, Walter.

WALTER: Where's your back-up?

WILL: No back-up.

WALTER: You're not following procedure.

WILL: Procedure went out the window a long time ago.

WALTER: Yes. Like that.

WILL: This an accident, Walter?

WALTER: If you want it to be...

WILL: Couldn't get it up, Walter?

WALTER: It was when I went to kiss her. She started laughing. I got angry. After all I'd given her. All I'd shared with her. I just wanted to make her stop. That's all.

WILL: I told you that was an accident!

WALTER: Then so was mine...

WILL: Don't you pull that shit with me.

WALTER: I didn't want to kill her, Will.

WILL: What the hell do you know?

WALTER: Kay told me. She comes to me, you know. Tells me things. About you. About me.

WALTER: I thought maybe we could talk some more.

WILL: There's nothing more to talk about.

WALTER: But we work so well together...

WILL: Randy Stetz is in jail.

WALTER: Told you I could write an ending.

WILL: Congratulations.

WILL: What about him?

WALTER: He. Well, he...

WILL: You gave her gifts.

WALTER: Yes.

WILL: Expensive dresses. A heart necklace.

WALTER: Yes.

WILL: Doesn't sound like a mentor to me.

WALTER: I gave her things she didn't have. Couldn't have.

WALTER: No.

WILL: But you wanted to.

WALTER: I was a mentor to her.

WALTER: She was only seventeen.

WILL: But she was an attractive girl.

WALTER: I suppose.

WILL: Did you have sex with her?

WALTER: Down at the station?

WILL: Yes down at the station.

WALTER: I'm sorry?

WILL: I said you're going to get a phone call.

WALTER: Oh?

WILL: Kay Connell had a signed copy of one of your books.

WALTER: Thought you might find that.

WILL: You're going to be brought in for questioning.

WALTER: No game.

WILL: The phone call. The knapsack.

Oscar Awards

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Media

Trailer
Insomnia Trailer #1 (2002) | Movieclips Classics
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Trailer
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