It’s a little ironic that a time travel movie can’t be reviewed completely before the future self sees the movie again.
Nolan is brave enough to render such a dense blockbuster. He hopes that people may really like to see Tenet more than once so that they may appreciate it correctly, which others do not. This film renders Inception’s chronology seem as plain as tic–tac–toe.
Ergo, it’s hard for me to offer an accurate ranking, without seeing it twice, so I’m always trying to find out if it really makes sense. If that’s the case, this movie is comfortably 9 or 10. If it doesn’t, there’s a 6.
It’s also not aided by the fact that the dialog in the first 15 minutes of the film is incredibly challenging to understand / hear. They were either under masks; they were literally muttering; the sound effects were so loud; or any of the above. Exhibition scenes are often too short for anything that is so complex — an issue that is actually shared with Interstellar.
(Interstellar had this minimalist visibility dilemma describing Blight, that if you weren’t careful, you’d skip this one sentence / scene in the whole film describing that Blight was a viral bacteria: Its tenet
“Earth’s environment is 80 percent nitrogen, we don’t even breathe nitrogen. Blight does, and when it thrives, our climate receives less and less oxygen.”
It’s a Nolan quirk, I suppose. Let ‘s assume that a revision of the movie audio works out the sound mixing. I like the music, but initially it’s too noisy.
I just enjoyed all the performers. You don’t think John Washington will behave at first, but he can, and he grows on you as the film progresses. Pattinson is his normal charming self. Elizabeth is a little surprise treat. And so on, guy tenet
It’s Worth a look, either way. If you may, see it with subtitles. And don’t plan to completely grasp what’s going on the first time around tenet.
It’s just one heck of a complicated movie. It’s going to be really tough for the regular audience to collect all the details that this film offers at the first watch. Yet the longer you watch, the more secret elements come to light. And when you will bring together these hidden components. You will know that this film is only a “masterpiece” that brings the legacy of Christopher Nolan Forward.
If I speak about acting, then I have to conclude that Robert Pattinson has really proven himself to be a very successful actor in recent years. And I’m confident that his acting abilities would increase over time. His success is lovely and really smooth. Whenever he’s on the frame, the John David Washington emphasis is brilliant in this movie, too. His success is electrifying, and I hope he can do more of that in the future. Other characters including Kenneth Branagh, Elizabeth, Himesh Patel, Dimple Kapadia, Clémence Poésy have also performed very well. And I suppose there’s a need to chat about Michael Caine
Talking about songs, it’s great. I don’t think you’re going to lose Hans Zimmer ‘s ranking. Ludwig has done a decent enough job. There’s no shortage of a strong performance in the movie
Got ta loves the editing and post–production that has been placed into this movie. I guess it’s safe to assume that Nolan ‘s film concentrated mainly on post–production. The biggest issue in the film is the blending of sound. Plot is now complicated and certain dialogs are very gentle due to the high music score. It makes it harder to see what’s going on in the movie. Other Nolan movies, too, had noisy BGM. Yet audio and dialogs haven’t been a concern
My sincere appeal to all of you is to please let the film settle into your minds. Let your mind understand all the elements of this film. I ‘m sure more people are going to make it easier. And all who believe they’ve got the story. Ok, I can guarantee they’re incorrect.
Tenet is Christopher Nolan’s long–awaited latest film. The movie set to reboot the post–Covid multiplexes. It’s a manic, incredibly loud, incredibly baffling sci–fi cum spy rollercoaster that will satisfy a lot of Nolan fans, but that left me with very mixed views.
John David Washington (Denzel’s lad) portrays “The Protagonist“-a crack–CIA field agent who is an invincible one–man army in the Hobbs or Shaw form. Recruited into an far more mysterious group, Andrei Sator (Kenneth Branagh in complete villain mode) is on the tail of a foreign weapons dealer. Sator is harassing his strangled wife Kat (Elizabeth Debicki) for the custody of their son (and the film has a BBFC notice against “Domestic Abuse“). Our hero is pushing the planet to try to escape a really specific kind of Armageddon thus holding the weak and attractive Kat safe.
It’s the best and boldest movie theatre. Nolan took the film ‘splurge‘ pistol, loaded it with gold, put it on a fast shoot, removed the safety and let it rip on the frame. Since Nolan is renowned for performing all of his ‘effects‘ for real and ‘in video,’ some of what you see done is almost incredible. Did you think that crashing a train into rush–hour traffic in “Inception” was insane? With the airport scene, you haven’t seen anything yet! And for the lovers of Chinooks (I have to confess I’m one and run out of the house to see one if I hear it coming!), there’s a positive Chinook–p*rn deal in the ridiculously vast finale of the film.
The ‘inversion‘ elements of the plot often lend themselves to several battle scenes–one in particular in the airport ‘freeport‘-which are both bizarre to see and, I believe, technically incredibly complicated to carry out. In this respect, John David Washington is an acrobatic and skilled stunt artist of his own right, and he must have been trained for this role for months.
Nolan ‘s team have definitely racked up their pre–locking air miles, since the destinations are far and large around the globe. The places were Denmark, Estonia, India , Italy, Norway, the United Kingdom and the United States. Hoyte Van Hoytema’s cinema is lush in incorporating these, particularly the gorgeous Italian coast scenes. While I lacked the David Arnold strings that would usually be added in a Bond movie, it seemed like it was lacking.
The ‘time–wife‘ elements of the storyline are both interesting and quite smart. There are several points where you realize “Yeah, that’s a sloppy continuity mistake” or “Shame the development management staff skipped the broken wing mirror.” You get at least a dozen “Aha!” moments later in the movie. Some (no spoilers) are jaw–droppingly spectacular.
Maybe the best twist is contained in the final line of the film. I was only processing it on the ride home.
And that’s the first of my major grips with Tenet. The sound mix in the film is all over the spot. I might have gone stronger than that … It’s just bad (expletively deleted)! Nolan also employs Shakespeare’s trick of getting actors in the play to demonstrate the story to help interpretation. Unfortunately, though, this whole exhibition dialog was mostly nonsensical. This was because of:
The ear–splitting frequency of the sound: 2020 film viewers are going to suffer from ‘Tenetis!’ (LOL)
The dialog is not well blended with the music of Ludwig Göransson (Wot? No Hans Zimmer?);
A significant proportion of the dialog was by masks of differing definition (# covid–appropriate). Aaron Taylor–Johnson was especially nonsensical to my ears.
Overall, it would be advisable to view this with subtitles at a special show!
Okay, so I just received a PhD in Physics … But often I was utterly confused as to the intricacy of the story. It made the “Inception” seem like the “Tiger That came to Tea” There was an apparent ‘McGuffin‘ in ‘Inception‘- (“These ‘dream stages‘… how exactly are they designed??”… “Don’t worry… they’ll never know,” and we didn’t!) In ‘Tenet‘ there are McGuffins nestled in McGuffins. So much of this is casually brushed aside as “future material … you’re not eligible” that it sounds vaguely patronizing to the viewer. At one point, Sator says to Kat, “You don’t know what’s going on, do you?” and she shakes her head empty. We’re right there for you!
There are holes in the plot of the jar, too. The term ‘Tenet‘ What does that mean. Is it just a password? I’m not the smarter.
Tenet ‘s manic pace and relentless din ensures that the film gallops around like a sequence of fragmented (albeit brilliant) action pieces. For me, neither of the mental hearts of Cobb’s marital issues come from “Inception” or the father / daughter split from “Interstellar.” In reality, you hardly care for everyone in the movie, maybe with the exception of Kat.
This is a creative cast. As described above, John David Washington plays a muscular and athletic position. It’s a huge load for the actor to be in such a tent–pole movie, considering that his only major leading part before that was in the excellent BlacKkKlansman. Yet he’s pulling things off well. A capable replacement to Gerard Butler and Jason Statham for acting positions in the next 10 years.
It’s also a fine performance by Robert Pattinson, in his longest–standing show, as the vaguely intoxicated and Carré–esque support person. Pattinson’s Potter co–star, Clemence Poésy, also appears–rather un–glam than usual–as a scientist’s plot–exhibitor early in the picture.
Michael Caine ‘s usual Nolan also turns up. While the 87–year–old icon is beginning to reflect his age: his voice was definitely distorted at the time of the recording (though it was good to ask Mr Nolan to cover it up with a mouth full of food!). But any volume of Caine in a movie is a bonus in my book. He’s still going to produce the best killing line in the snob series!
It’s Kenneth Branagh and Elizabeth Debicki, though, who both stick out. They were both fabulous, particularly when they bounced off each other in their royal marital fight.
So, because this was my most awaited film of the year, it’s a bit of a curate ‘s egg for me. A combination of being at times awe–struck and mildly frustrated by some. It’s a film that deserves a second watch.