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TENET is a delirious, exhilarating ride with some of the best action I& #39;ve ever seen. Every minute is a sensory assault, with mad scientist plotting that flies too close to the sun in a way only Chris Nolan can. As a film it falters, but as a"CINEMA!" experience it is magnificent.
TENET is an art-blockbuster on the chassis of Nolan& #39;s least accessible, most oppressively icy film. What it reveals in Nolan& #39;s strength with concept, style and action, it exposes in his weakness with character, plot and dialogue. It is a bizarre medley of mastery and misstep.
TENET is the first Christopher Nolan film without a soul. The biggest disappointment isn& #39;t that its quantum maze is confusing--I loved feeling lost in its web--it& #39;s that the ambiguities you& #39;re left with are technical rather than philosophical. It& #39;s a dazzling, alienating puzzle.
Script aside, TENET has some of the best filmmaking of Nolan& #39;s career. He wields the exquisite visual control of DUNKIRK and applies it to heists and car chases, with a time-inverted fist fight that& #39;s the best brawl since the bathroom in FALLOUT. A visual and somatic thrill.
ALSO: John David Washington oozes effortless charisma, Elizabeth Debicki brings nuance and heart to a retrograde role that was written with neither, Branagh revels his scenery-chewing menace and Pattinson steals every minute he& #39;s in. Ludwig Göransson& #39;s pulsating score rules.
Throughout TENET, I kept thinking Dicaprio worked with Nolan for *months* to ensure INCEPTION had real emotional heft to Cobb& #39;s arc reuniting with his children. Whether it was Washington, Pattinson or his brother, TENET needed help finding the emotional stakes in its cerebral web
