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I think if this film gets high profile nominations for Nolan’s edging with the release schedule to “Save cinema”, it’d be a fiasco.
This just isn’t a good movie. And I like Nolan movies. I have elaborated my opinions elsewhere, but it’s a poorly written plot jargon over anything else movie with weirdly bad performances by some of the cast.
If you are in a COVID heavy area, for the love of God just skip Tenet. It’s not even a good movie, let alone worth a health risk.
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After seeing Tenet, I now understand why it’s received mixed reviews. It’s not very good….
The screenplay is flat, the story isn’t interesting, the sound is distracting, the direction & performances are stilted, & the characters have 0 personalities.
It’s a very vacant if not forgettable film. A total disappointment.
ReplyCopy URL👑Cicely Tyson (1924-2021)
👑Mary Wilson (1944-2021)Huge Nolan fan here but TENET has all the problems I have with Nolan as a filmmaker.
It is better if you see it on a big screen, be it Cinema or at your home if you have a huge TV.Not a top tier Nolan work but a hugely ambitious effort nonetheless.
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Which are? I’m actually curious.
I am sorry for replying this late, I didn’t get the notification and I rarely open Derby now.
First and foremost, no one would be able to completely understand this film after one watch, I will wait for the digital release so I can watch it in my home.
Now as for problems, they can be just my personal opinions and personal issues with Nolan.
-He focuses too much on plot and scale that sometimes his characters stop appearing as actual human beings and more a tool to progress the film. This happened especially in “TENET”, I didn’t get attached to any character except for Debicki’s. Most people will tell you that their favourite Nolan film is either “Inception” or “Interstellar”, now people are revisiting “Prestige” and it is becoming many people’s favourite Nolan. These are the films where characters felt human.
-Sound Mixing of his films in theatres, you are not able to understand every dialogue with full clarity but then it might only be a problem with the theatre, I go to.
-Not often but sometimes, dialogues in his film which was a strong case in “TENET”, you will see it when you watch the film.
-Sometimes, it appears as Nolan is just too much obsessed with mind-benders just for the sake of it.
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^ All good points. My main issue with Nolan’s movies is, for all their high-concept ideas and technical skill, they lack tonal boldness, sticking to the tailer-made tonal combination of the modern action blockbuster: sombre, emotional gravitas, deft action and the occasional trailer-ready quip. Take Inception for example. It delves into the subconscious, dreams within dreams, without ever truly embracing any kind of surreal aesthetic (because that would be too weird right?) It has a smart script, inspired architecture, and yet a bunch of cool stuff happens without really taking full imaginative flight.
Nolan is often compared, for better or worse, with Kubrick in his technological prowess and emotional “chilliness”, but Kubrick was far less afraid to subvert audiences’ expectations of serious subject matter: Dr. Strangelove is an obvious example, but A Clockwork Orange combines horrific scenes of violence with warped humour and outright farce, while even something as far-reaching and profound as 2001:A Space Odyssey has the childishly bizarre ‘Daisy, Daisy’ moment punctuate the most sinister and suffocating segment of the film. Nolan’s contemporary Paul Thomas Anderson is similarly bolder with moments of absurdity even in his most thematically penetrating films: “I drink your milkshake!”, “I wanna fart in your face”. I’m not suggesting Nolan needs to go that far, but he could afford to loosen up a little. Though maybe I’m being unfair; with his high budgets he may not be able to afford to go too far off the beaten path.
ReplyCopy URL^ All good points. My main issue with Nolan’s movies is, for all their high-concept ideas and technical skill, they lack tonal boldness, sticking to the tailer-made tonal combination of the modern action blockbuster: sombre, emotional gravitas, deft action and the occasional trailer-ready quip. Take Inception for example. It delves into the subconscious, dreams within dreams, without ever truly embracing any kind of surreal aesthetic (because that would be too weird right?) It has a smart script, inspired architecture, and yet a bunch of cool stuff happens without really taking full imaginative flight.
Nolan is often compared, for better or worse, with Kubrick in his technological prowess and emotional “chilliness”, but Kubrick was far less afraid to subvert audiences’ expectations of serious subject matter: Dr. Strangelove is an obvious example, but A Clockwork Orange combines horrific scenes of violence with warped humour and outright farce, while even something as far-reaching and profound as 2001:A Space Odyssey has the childishly bizarre ‘Daisy, Daisy’ moment punctuate the most sinister and suffocating segment of the film. Nolan’s contemporary Paul Thomas Anderson is similarly bolder with moments of absurdity even in his most thematically penetrating films: “I drink your milkshake!”, “I wanna fart in your face”. I’m not suggesting Nolan needs to go that far, but he could afford to loosen up a little. Though maybe I’m being unfair; with his high budgets he may not be able to afford to go too far off the beaten path.
I totally agree with you.
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Rotten Tomatoes score is up to an 87% now.
I think you guys are overreacting. Remember, you all thought Joker and Jojo Rabbit were done when the early reviews were mixed and look at how that turned out. This film is still going to be a major Oscar contender as long as the audience scores are solid and it doesn’t completely bomb at the box office. The Oscars don’t care about reviews anymore when it comes to blockbusters.
This movie sucks tho, Joker and Jojo were great films.
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