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...and I think it's because his real interest has become (as Zacharek noted) diagramming plot and character, not revealing them. THE PRESTIGE had all the surface elements in place (terrific performances, complex writing, a terrific premise). But it was way less effective and emotionally gripping than it should have been because Nolan cared more about (and obviously had more fun) revealing the plot convolutions than he did showing the characters' obsession with obsession. And it's a shame, because anyone could relate to wanting to win at revenge so badly you'd get sucked into taking things too far. It sounds like TDK has almost the same problem.
