Tenet ★★★★

Doesn’t seem like I’m with letterboxd on this one. /:

While Ludwig Göransson’s blood-pumping score does BRrRM at the ears, I can’t rate a film at this calibre a 3 or less for one or few of these reasons alone (but I understand!):

- Sound mixing,
- Exposition,
- Complexity

Inception and Interstellar heavily rely on exposition, hell, most of the lines for the beloved dream-heist is exposition.

Now Nolan introduces us to Inversion, where an object or a person can move backwards contrary to the world by reversing their entropy. I had a smile ear-to-ear, at awe watching action choreography that was backwards and forwards simultaneously, or seeing catamarans in film for the first time or seeing a 747 actually crash.

Tenet kicks in at the half-hour mark and by the middle the script just pushes me to the edge of my seat with the same “There’s no way!” reaction I had watching Inception 10 years ago.

The cast is mesmerizing: there’s the charismatic protagonist, aptly named the Protagonist in John David Washington, or the show-stealer, Robert Pattinson in his great renaissance, Elizabeth Debicki’s royal presence (I’m excited to see her in other films) and Kenneth Branagh’s peak-prick Trump/Putin-like antagonist, Andrei Sator. Every actor shines on screen and with cinematographer Hoyte Van Hoytema, Tenet had a feel of prodigious prestige.

A common word you’ll hear in rave reviews is spectacle, and they’re right, while the only emotional pull for me came from Neil (Pattinson), this is a Nolan spectacle, It’s Nolan recognizing Inception’s 10 year anniversary and saying “Wait, I have another.”

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