Why the hell would he be pushed into the Freeport by an explosion that was YET TO HAPPEN? This is solely a plot device to get both JDW in the same area and an excuse for that unbelievably boring action scene. This means that JDW #2 was blown through the door by an explosion that, as far as the non-inverted wind of the air is concerned, HADN’T HAPPENED YET. When we later come back to this scene through the perspective of his inverted self, the fight scene begins with a reverse explosion of one of the jets on the plane that crashed into the airport, and this is how he gets blown into the room behind him so can fight regular JDW. When the regular and inverted JDWs are fighting each other, the first time we see this scene, it ends with his inverted self getting sucked through a door into an explosion. It contradicts itself more than the fucking Bible.
And it can't even stay consistent with its own logic, or lack thereof, if its life depended on it.
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It’s closer to a quantum physics college thesis fused with the Cliffnotes for a Davinci Code novel.
It does absolutely fuck all to enhance the plot in any way and it comes at the expense of.literally anything else. If anything, you could cut every single piece of exposition out of the final cut, and although you’d probably be left with a 30 minute short film, it would probably make MORE sense than it does in its current state. None of it even makes the time inversion any clearer. That’s how it is, throughout the entire damn thing. This film is literally nothing except exposition scenes and unspecial action sequences. It’s not that this is a film with a lot of exposition. Even though it does nothing but try to explain itself to you every single step of the way, it still comes out the other end depressingly incoherent. It’s not even that complicated at the end of the day, it’s just massively overstuffed with so much random nonsense that it couldn’t find its own ass in a shit blizzard. The plot is impossible to follow, for absolutely no reason. Actually, I could probably hop onto Youtube right now and type in “cool shit in reverse” and find several dozen homemade videos fifty times funnier and more entertaining than anything that’s in this movie.Īnd it’s not just the time inversion that’s the problem or makes the whole thing so tacked on with so much needless and detrimental excess. Does anyone honestly find the time inversion in this film creative or even the least bit thought provoking? My phone can do that. Once you strip all of that away, you are left with nothing but laughably D-Tier Pierce Brosnan 007 nonsense with some unimaginative iMovie effects tossed into the mix for good measure backed by a story concept that’s - let’s be honest here - really fucking lame. Forget about all of the time inversion shit and artless, astonishingly boring and ceaseless exposition for just a moment. Complexity is not throwing as much shit in the audience’s face as possible that they have no idea what the fuck is going on. It’s just horrifically convoluted and inept. Let me get something out of the way right now. Real cars and real planes crash, destroy, and get destroyed.Īnd.yep, that’s all I got. Nolan has always preferred the use of practical effects and sets, and has only ever used CGI when he absolutely has to, and in Tenet, he stays true to this.
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I say that because the very little charm he had in the movie was very obviously coming from him and not the script.Īctually, I do have one actual compliment to offer. John David Washington is clearly a charismatic guy. The editing has some pretty fucking terrible moments when it comes to stitching scenes together. You know what, I take that last one back. It’s a genuine struggle for me to think of anything positive to say about this film aside from basic production competence. I had no idea that it would be as much of an absolute fucking dumpster fire as it was. I was more than willing to go in with an open mind and decide for myself how I’d feel about it. I knew that it wouldn’t be amazing based on some of the reviews I read here on Letterboxd.
And I have always had a basic respect for him for that reason. But he has kept up a pattern of at least attempting to bring highly surreal and abstract ideas and putting them into mainstream cinemas where most audiences who don’t seek out arthouse films can enjoy them. Granted, his execution of said concepts that he dabbles in isn’t always the cleanest or most coherent, with Interstellar especially coming to mind, which I felt was an admirable mess. But I still like most of the films I’ve seen from him (I’ve seen everything except DK and DKR), and I still think he is an interesting talent, especially at a conceptual level. Christopher Nolan is a filmmaker that I’ve slowly been falling out of love with over the past year or so.
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