Tenet ★★★½

The thing about Christopher Nolan’s Tenet - the first major film to arrive in theaters since the beginning of the pandemic - is that it’s the film where he finally admits to not giving a fuck about characters or story beyond structure. By mostly shedding his restraints that showed up in prior films like Interstellar and Inception, he’s let himself go wild.

Tenet is admittedly a slightly messy effort (though by no means confusing or hard to follow: frankly, any accusations to it being utterly incomprehensible as are unfounded as the same accusations thrown at Greta Gerwig’s Little Women, to cite a recent example), but it is by no means a slog. The film whizzes by at a million miles an hour, asking us to hang on tight and enjoy the ride. And what a ride it is! I haven’t enjoyed one of Nolan’s film so much since The Prestige, and the fantastic musical score keeps your blood up pumping as you watch archetypes barrel backwards and forwards through time. 

It has its problems, to be sure, but as a grand return of movie theaters, you could hardly ask for a more triumphant homecoming.

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