![]() “Tenet” wastes no time, dropping viewers into an attack on a symphony performance in Kiev and barely allowing anyone to get oriented. More certainly seems to be the operating principle of “Tenet,” even if the chewing can get exhausting. There are war action scenes that recall “ Dunkirk,” an espionage narrative that feels like “ Inception,” and even a whole lot of people talking through masks a la Bane in “ The Dark Knight Rises.” It is 100% designed as an experience for people who have unpacked films like “ The Prestige” and “ Memento” late into the night, hoping to give Nolan fans more to chew on than ever before. Finally, at times, it even seems to echo previous Nolan projects like an album of remastered greatest hits. Second, it contains one of those time-twisting narratives that have defined the Nolan brand, one that blends robust action sequences with high-concept stories that viewers have to legitimately strain to follow. There’s so much money in every bursting frame of this opulent film that a scene in which gold bars are literally dumped on a runway feels almost like a self-referential wink. First, it has the kind of budget that only Nolan could get for an original screenplay. No one could possibly mistake “Tenet” as being by anyone but Christopher Nolan. It is an analysis of the work itself for posterity. The intent of this review is not to encourage or discourage anyone from attending a theatrical screening at this specific time. For transparency’s sake, it feels important to state that this film was screened for limited press in Chicago with extreme precautions that simply won’t be in place for most ticket buyers at least for weeks, including 1% capacity of a huge, sanitized theater first thing in the morning.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |