After months of delays, changes and uncertainty, the time is finally upon us for Christopher Nolan's Tenet to begin rolling out around the world. Marking the first major studio release since the coronavirus pandemic forced closures worldwide, Tenet has become the self-appointed 'save our cinemas!' rallying cry, hoping to inspire audiences to return to the auditorium as the world attempts to return to some form of normality. Is this action-spy thriller worth venturing out to your (socially distanced) local cineplex?
With World War 3 imminent, a secret organisation known as Tenet, who possess the ability to manipulate time and travel through it in two directions, must fight to prevent a world-ending catastrophe. From the director of Inception, Dunkirk and The Dark Knight trilogy, Tenet continues Nolan's brand of high-concept, intelligent filmmaking but mostly departs from his usual team of collaborators, with the cast this time featuring John David Washington, Robert Pattinson and Elizabeth Debicki.
If one thing is for sure, Tenet belongs on the biggest screen imaginable. While the ethical choice to reopen theatres is an ongoing, opinionated discussion, and the decision to go lies solely with the individual audience member (I would advise seeking out what you cineplex has in the way of safety measures before you book your ticket, although I have been personally impressed during my handful of visits at the precautions laid out), there is no denying that the cinema experience is one that greatly benefits Tenet; a feature that relentlessly fires on every cylinder. From the bombastic soundscape to the awe-inspiring visuals, it would be impossible to replicate and fully appreciate this immensely-detailed and intricately layered experience at home.
Visually, Tenet emulates the impossibly high standards Nolan has previously set - and perhaps even surpasses them on occasions. Particularly when you consider the complications of the shoot, the inversion aspect of the plot providing almost unfathomable challenges, the filmmakers stretch themselves to present images you have never before seen on screen, mindbending in their sheer complexity and scale. Packed to the brim with action set pieces that are brilliantly creative, sharply-choreographed and immaculately-executed, with an intensity further drawn out by Ludwig Goransson's palpable score, as well as the crisp camerawork from cinematographer Hoyte van Hoytema stitched together fantastically by editor Jennifer Lame, it is the practicality of the action and effects that allow Tenet to amaze. So much of it captured in-frame rather than digitally green-screened in later, exceedingly rare for contemporary blockbusters, which makes it all the more thrilling to the senses - and likely to hold up years down the line.
With so much technical, scientific jargon, talk of time-hopping and inversion, it would take the smartest mind not to be at least somewhat confused by Tenet. With such density to its plot, it's fitting to follow the advice of one of the film's characters; "don't try to understand it, feel it". Trying to get ahead of a film like Tenet will do you no favours, simply enjoying the ride, paying attention and fitting the pieces together later will serve most better than trying to keep up with it at all times. And while Tenet unfortunately lacks the instant gratification and reward of a film like Inception, with less thematic substance to it once the central cog is removed (at least on a first watch), there's still satisfaction to the puzzle pieces fitting together when they do. A few of the twists are predictable and too much weight placed on their eventual unveiling but for such elaborate filmmaking to be made this accessible is a notable achievement in and of itself, with Nolan's crafting of this ricocheting thrill-ride placing real trust and respect in his audience.
A strong ensemble has been assembled on this globe-trotting adventures, the fresh faces in a Nolan project bringing a new-found excitement to the auteur's filmography. John David Washington brings an effortless swagger as the driving force, proving that his role in Spike Lee's BlacKkKlansman was no fluke; he's already a fully-fledged leading man and does so with composure and confidence. Robert Pattinson similarly impresses, proving himself a captivating dramatic presence while playfully letting a little personality shine through too. Their chemistry is strong and their physical prowess and energy, especially on Washington's part, deserves commendation.
But it is arguably Elizabeth Debicki who steals the film, her storyline providing the picture with a heart that cuts through much of the sometimes overwhelming mechanics of plot. While character work is hardly Nolan's forte, Kat's relationship with her brutal husband (menacingly played by Kenneth Branagh) is treated with depth and sensitivity as a result of the empathy Debicki infuses into her portrayal; while she is bruised, she's not broken and her subplot is easily the most emotionally compelling element of the film, pulling a humanity back into focus during a narrative that increasingly sprawls with every passing minute.
Tenet is a cerebral, ambitious and audacious cinematic achievement that plays to Christopher Nolan's strengths. Arguably too complex for its own good at times, and without the immediate satisfaction of top-tier Nolan, it is nevertheless a relentlessly thrilling and often exhilarating sensory overload that thrives on the big screen thanks to its mind-bending visuals and heart-racing action. Whether Tenet will save cinema or simply give it the shot of life it so desperately needs remains to be seen but, as a piece of filmmaking, it demonstrates that no one can do intelligent, exciting and original cinema better than Christopher Nolan.
Summary: Tenet's extraordinary visuals, incredible action and superb cast keep audiences enthralled throughout Christopher Nolan's mindbending, occasionally confusing, latest.