Tenet.

Review #1618: Tenet.

Cast: 

John David Washington (the Protagonist), Robert Pattinson (Neil), Elizabeth Debicki (Katherine "Kat" Barton), Dimple Kapadia (Priya), Martin Donovan (Fay), Fiona Dourif (Wheeler), Yuri Kolokolnikov (Volkov), Himesh Patel (Mahir), Clémence Poésy (Barbara), Aaron Taylor-Johnson (Ives), Michael Caine (Sir Michael Crosby), Kenneth Branagh (Andrei Sator), and Denzil Smith (Sanjay) Directed by Christopher Nolan (#054 - The Dark Knight, #055 - Inception, #062 - Batman Begins, #980 - Dunkirk, and #1562 - The Dark Knight Rises)

Review: 
No question... the most ambitious film we’ve made. It’s a film of great ambition and great scale that takes a genre, namely the spy film, and tries to take it into some new territory, and tries to take the audience on a ride they might not have had before, and might not be expecting."

What one knows and doesn't know about this film likely could make for a good discussion between friends. But, dear reader, are we really friends when looking upon the flow of time or just strangers in the night? I imagine that statement probably made about as much sense as Tenet ultimately does in the long run: figure it out later after the experience is over. Honestly, the curiosity to doing this film came about months after its release into theaters (you may or may not recognize that fact with all the other things that happened in the year) - there was buzz and other such talk, but it seemed right to just wait it out for release at home (a release on physical media, mind you, as I will fortify myself on the hill of physical releases and/or cinema releases in a pandemic-less world forever). While the script took six years for Nolan to develop, images and concepts for the film were there in his head over the past two decades. He wanted to make a spy film that captured the excitement of films like the James Bond features (for which he is a fan of) that would be like working from a memory rather than specifics. It does not contain as many visual effects shots as his other films like The Dark Knight Rises (2012), but the creativity in its execution with certain sequences can't be overlooked, including a sequence with a real plane being used for an explosion, and I am sure the inversion scenes will catch one for a loop.

So, after all that hubbub in the twilight, how is the overall film in entertainment? Oh, it is a fine movie. If one tries not to understand it but instead feel it, they hopefully will get a feeling of enjoyment rather than the worst-case scenario of frustration. It is likely a film that will require a second viewing not so much to try and absorb more of what it really is all about but more just to see how it resonates in its excitement and narrative decisions from viewing to viewing. But ask yourself: how many folks will go through the time of 150 minutes and decide to do it twice to try and improve upon fine spectacle? I imagine that I will do the film over again at some point in time, probably when I ever look back upon one of Nolan's other big-scale films involving science fiction in some way such as Interstellar (2014). In other words, some of it made sense, some of it will probably make sense another time, and the rest falls somewhere in between, one that will please those who desire a bit of cerebral interest while making the action folk have a bit of glaze in their eyes. Washington, a former high school/professional talent that found his first prominent role in the TV show Ballers (2015-19), certainly hits the mark when it comes to collected pace and on-the-go charm, which is required to make sure he isn't lost in the action pieces. Pattinson (having done quite a few smaller budget films over the past few years that received some notice) does well here, a worthy one of the time needed in following his instincts for a crisp and interesting performance to go right with Washington when needed (reportedly one of his inspirations was an attempt at trying to do an impersonation of author Christopher Hitchens). Debicki also does well with those moments of balance between calm and growing tension that makes a key effort in interest and grace. Branagh definitely seems to touch upon the "Bond villain" aspects a bit, right down to the attempt of a Russian accent and for what the film needs it goes alright in fatalistic interest. Others have their moments, such as an elusive Kapadia, but the real star proves to be in the staging of action, which for the most part is pretty good (sound mixing jokes aside, because the magic of subtitles makes me worry less), and I imagine that finding out more about the nature of those effects being created will be thought of just as much as folks who try to level out all the explanations about exactly how much Tenet makes/doesn't make sense. It is playing a game on us, and the way to win is to just sit back and not hurl at the ride. The opening opera sequence is quite a ram-shackling highlight, alongside a sequence that one gets to think about twice involving action. As a whole, it is a strange piece of ambitious entertainment, one that will strike at the heart of curiosity for those wanting something with a bit of thought placed into the trappings of action and sci-fi, although for others it will just seem opaque in the measure of its plot alongside other aspects; in short, one can call it the most intriguing film Nolan has ever made, or find it to be one of his lesser efforts - I find it to be right in the middle. If one needs a puzzle, sometimes one just needs to feel up to it to see how it all goes, and Tenet will certainly prove a curiosity for it.

Well, the year is up, and this happens to be the tenth review on New Year's Eve for Movie Night, which seems apt enough to mean covering a film from 2020 (a most quiet year for new releases when one focuses on everything else instead). Happy Holidays, and we will see each other again in 2021 for Season 11.

Overall, I give it 8 out of 10 stars.