REVIEW: Tenet (2020)
In the midst of the chaos that is 2020, one factor that’s been highlighted is the convenience of streaming and the possible end of the movie theater experience. As more and more people are confined to their homes and movie theaters have been figuring out a way to re-open safely, more and more films have been released to streaming with a comfy $19.99 price tag (including films that got limited play before the pandemic struck).
So, in comes Christopher Nolan to save the movie theater experience! His latest mind-twisting venture, “Tenet,” had something of a slow roll-out, moving from the typically Nolan-designated July release to an August release, and then finally a September release. Even as theaters began to re-open, I didn’t feel safe seeing it. However, it eventually found its way to my local drive-in (the very one I saw “Birds of Prey” in, which was the last new film I saw pre-COVID, believe it or not). So how does Nolan’s latest hold up?
“Tenet” follows The Protagonist (and that’s all he’s known as) on a mission to stop a Russian arms dealer steal a weapon from the future that will start WWIII. Utilizing time inversion, The Protagonist joins a special operation to save both the past, the present, and the future.
Watching this film reminded me of when I was first saw Nolan’s “Inception” in cinemas ten years ago. However, whereas “Inception” was tangible with the help of compelling characters and a layered exploration into the science and complexities of its world against the backdrop of a visual spectacle, “Tenet” is more or less an engaging spy-thriller with a complex plot that doesn’t offer the audience much in the way of breathing room to take it all in. It’s not “Rise of Skywalker”-bad, mind you. You can tell the ideas and concepts are well thought-out, but it’s something of a double edged sword in that it leaves you with questions but also in a way makes it warrant a second viewing.
The characters aren’t entirely compelling and some of their beats feel played out, though the actors are all fantastic. John David Washington has an effortless charm and unexpectedly strong dry comedic delivery in the lead role while Robert Pattinson and Elizabeth Debicki bring their own natural instincts and individual charisma to what initially feel somewhat like carbon copies of characters seen in other Nolan films. Still, all are likable save for Kenneth Branagh essentially playing the same “Russian Bad Guy” he played in that “Jack Ryan” reboot that he directed.
The action, fight scenes, and massive set pieces are all typically well-crafted in Mr. Nolan’s usual fashion. Hoyte Van Hoytema’s cinematography does just as it did on Nolan’s “Interstellar” and “Dunkirk” as well as Sam Mendes’ James Bond film “Spectre,” in that it shows off the gloriously beautiful locations and captures the action in exhilarating fashion whilst still keeping it grounded in its established world. The editing and sound mixing, however, do effect the film in a negative fashion. At times the editing feels too quick, as characters might have a short exchange and then they’ll suddenly cut quickly to the next scene. The sound mixing is the most unfortunate aspect and highlights one of Nolan’s weaknesses. In scenes where characters are talking and explaining what’s going on, they’re often drowned out by the music or loud explosions and noises happening in the scene. It hurts the experience somewhat.
Despite my qualms, I did enjoy the film and while I may need to sit on it for a while, there enough in it to keep me engaged and I certainly admire it for its ambitions. It’s definitely one I’ll have to rewatch in order to take in more, but I think I want to wait until it’s on streaming (when I can turn on the subtitles). Not one of Nolan’s worst but not one of his best either.
B
