Christopher Nolan has a unique fan base. The success of the Dark Knight Trilogy, followed by mega-hits like Inception and Dunkirk, enabled him to walk a tightrope so few filmmakers can.
In a Venn diagram, with mainstream audiences on one side and art-house cinema lovers on the other, Nolan has found himself right in the middle.
His films have the bombastic spectacle which resonates worldwide, whilst also delivering consistently smart, tight screenplays. Ones that can be analysed in film schools for years to come.
So how does his newest flick, Tenet, compare to the rest of his filmography? Well, funnily enough, right in the middle.
Nolan’s trademark style is on display here; a naturalistic mise-en-scène juxtaposed with some kind of futuristic sci-fi plot device.
The plot device in question? Time inversion. How does it work exactly? Well, Nolan doesn’t really seem to care, so neither should we.
The movie clocks in at 2 and a half hours. It’s by no means short, but still feels rushed. The first act in particular races from set-piece to set-piece, with little time to breathe or catch our bearings.
The sound mixing also makes some of the lines difficult to hear. As a result, with such a fast pace, crucial dialogue is left unintelligible.
The performances are all strong, especially from John David Washington (BlacKkKlansman) and Elizabeth Debicki (Widows). It’s the relationship between these characters that prevents Tenet from being entirely bereft of emotion.
Where the film truly excels is in the application of the unique premise. Nolan crafts some of his best action sequences yet. No spoilers here, but the way he plays with the time inversion aspect is genius. Seeing events from different perspectives, or simultaneously but in both forwards and reverse, is nothing short of jaw-dropping.
Ironically, Martin Scorsese’s infamous comparisons between Marvel movies and theme parks may be more apt here. As, like any good roller coaster, you leave Tenet feeling exhilarated, maybe a little dizzy, and pretty sure you had fun.
All in all, Tenet is by far Nolan’s most technically ambitious movie, but is ultimately lacking in emotional resonance.
