If “Tenet” didn’t reel ’em in, probably nothing could have.
#Where was the movie original sin shit movie
is clearly a result - and a barometer - of the skittishness with which Americans still regard the prospect of going out to see a movie during the pandemic. The fact that it underperformed in the U.S. That’s why the film has done well internationally. As a director, he’s got a vast reverent following, an event-status aura, a gotta-see-it brand. Nolan’s films - including the ones I’m a nay-sayer on, like “Inception” - tend to be major hits. “Tenet” was put out there as the great flickering cinematic candle that would draw 10 million human moths to its flame, and on that level it perfectly fit the bill. marketplace on the fact that it isn’t a better movie. To be clear, I’m not blaming the commercial disappointment of “Tenet” in the U.S. Which is exactly what made it the wrong film for this moment.
Rather than offering a great escape from the COVID blues, the movie was perfectly in sync with the COVID blues. But what I discovered, to my surprise, is that “Tenet,” in all its high-toned kinetic quasi-obscurity, completed the alienation of the experience. (Nolan is a cinematic badass, but he’s also a courtly English gentleman.) I confess, however, that I’m starting to weary of the Nolan mystique, because too often he can’t seem to decide whether he wants to be Stanley Kubrick or the world’s most grandly slipshod crafter of cinematic acrostics.Īll of which is to say that when I finally caught up with “Tenet,” just a week ago, venturing out to see my first movie in six months at a multiplex in Hoboken, N.J., I found the whole experience more than a little alienating, and not because the COVID part - the social distancing in the theater, the fact that I had to leave the city I live in (New York) to see a movie - got in the way of my enjoyment. Nolan made the greatest comic-book movie that anyone will probably ever make (“The Dark Knight”), as well as another film I revere (“Memento”) and a couple I totally enjoy (“The Prestige,” “Batman Begins”), as well as a war film (“Dunkirk”) shot from such a pristine God’s-eye view that its greatest trick isn’t the way it manipulates chronology it’s the way the film encourages you to forget that you’re watching a vision of World War II in which ruthless slaughter is always on the back burner. I say all this not because I have any great desire to re-review “Tenet.” The critics have spoken on it, and the general line seems to be: The film doesn’t entirely make sense, but that’s okay, because even when it doesn’t it’s such a bravura spectacle of head-spinning awesomeness - or something - that our heads are spun…sort of.
#Where was the movie original sin shit full
You’re presented with the idea of people entering dreams on different levels, but regardless of how many times you watch “Inception,” the way it actually works comes down to “Don’t sweat the details! Sink into the concept and enjoy the ride!” By the last act of “Tenet,” which is a grandiose action battle full of explosions that run backward (the sand funneling down into the earth, because those forces are moving in reverse), you can see that the effects are cool, and the idea is cool, but how the logistics of it all fit together remains barely coherent, which kind of limits the fun. Yet there’s a natural human inclination to want to see even the most intricate of movie puzzles come together in a cathartic way that finally makes you go “Aha!” And according to the Nolan head-scratching aesthetic, the way things fit together is always rather…abstract. So does the notion of a Nolan narrative with rules that are just tantalizingly out-of-reach enough to tease and tickle your brain. And when the concept was introduced of objects from the future moving backward through time - and when we learn that Branagh’s ubervillain has access to these objects because he’s cutting deals with forces from the future, which is why he has the power to end the world - I thought, “Okay, that sounds intriguing.”Ĭhristopher Nolan movies always sound intriguing.
(That sequence is like something out of a ’70s disaster movie, only not cheesy.) Or when he infiltrates the toxic heart of the broken-but-welded-together-by-coercion marriage of Branagh and Elizabeth Debicki.
I did, however, think that the film was reasonably intoxicating for the first 45 minutes or so, when Washington, exuding a brainy aura of danger all his own, toys with Kenneth Branagh’s icepick-hearted Russian gangster baron by arranging for stuff to happen like a 747 smashing into an airport building that houses an airlocked vault full of priceless paintings. I didn’t get “Tenet” - I couldn’t follow it, I didn’t understand it, I couldn’t begin to explain it. I do realize that in a technological culture of proud information overload, everything I’ve just said officially marks me as a Clueless and Possibly Even Stupid Movie Watcher.
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