“What’s happened, happened. Which is an expression of fate in the mechanics of the world. It’s not an excuse to do nothing.”Neil
Leaving aside Christopher Nolan’s misguided messianic desire to be the saviour of cinemas in the midst of a pandemic, Tenet is an ambitiously crafted, big budget disappointment. Relative perception of time has a been a consistent theme throughout most of Nolan’s filmmaking, manifesting here in the form of “inversion” whereby people and objects can be manipulated to move through time in reverse. This culminates in a couple of densely choreographed action sequences in the film’s final hour which operate with some characters moving forward through time and others in reverse. Unfortunately, the preceding hour and a half of less creative action and obtuse discussion by emotionally vacant characters will exhaust many viewers’ patience, worsened by Nolan’s oft-criticised sound mixing, frequently rendering dialogue incomprehensible as it is muffled by masks or overpowered by the soundtrack. Nolan’s past scripts demonstrate his capability at effectively communicating high concept ideas, be it the realistic time dilation of Interstellar or the multi-layered dreamworlds of Inception. By contrast, the rules by which Tenet operates only really come into focus as the film ends, rendering most of the action little more than pretty spectacle without clear stakes. Perhaps the intention is to force multiple viewings but nothing about Tenet is engaging enough to warrant the time investment.