Tenet (2020)

Christopher Nolan’s long-awaited latest film is finally here. I call it long-awaited for two reasons: firstly, it’s been a few years since his previous film, Dunkirk, and secondly, the film’s release into cinemas has been significantly delayed due to cinemas being closed during the worldwide coronavirus pandemic. But now, at least here in Melbourne where I am writing this, cinemas have reopened, and I have had a chance to see a film on the big screen again for the first time in many months.

And what a film it was to start back with.

In case the remainder of this review doesn’t make it clear enough, I feel I ought to mention at the outset that I am a big fan of Nolan’s previous work. I will be referring to some of his other films throughout, and if there are any mentioned that you haven’t seen, now would be a good time to catch yourself up.

I won’t be discussing the plot of the film too much here, because as you will know if you have seen a Christopher Nolan film before, the less you know going in, the better. I feel, however, I will need to give a bit of context for the purposes of the review.

The main character – who we know only as ‘Protagonist’ (John David Washington) – is a CIA operative. I’m serious, that is the character’s name, at least as it appears in the closing credits. At no point in the film do we learn his actual name, but I guess this is a good thing. It goes a long way to preserving the integrity of the character as someone whose life and career is shrouded in an enormous amount of secrecy.

The film opens with an intense opening sequence, which shouldn’t surprise those of you who have seen a Nolan film before, in particular The Dark Knight Rises, which I firmly believe to be the best Batman film so far; and also, to an extent, its predecessor, The Dark Knight. If you recall, the opening of both those films featured intense sequences, specifically identifiable by their epic nature and, on a more technical note, their rapid edits. This film is no exception, and in fact, does it better than its counterparts. The audience is positioned right in the middle of a particularly violent and intense moment, set in a concert hall where an orchestra is about to give a performance. I won’t go into detail of what happens here, but I will just say that it will take you by surprise, and no doubt will have you on the edge of your seat (It’s highly possible you won’t leave the seat’s edge until the film’s poignantly beautiful conclusion, so strap in).

Neil (Robert Pattinson) and Protagonist (John David Washington).

It is after this full-on opening that Protagonist (every time I write that, it reminds me just how peculiar it is) is thrust into a plot – and a plan he must thwart – to plunge the world into a nuclear holocaust. Working with a colleague – Neil (Robert Pattinson) – he must first of all discover the plot, and then take down the villain, a Russian terrorist named Sator (Kenneth Branagh).

Protagonist and Neil are assisted along the way by Sator’s ex-wife Kat (Elizabeth Debicki).

The only other thing I will say about the plot of the film is that when you watch it, you will need to wrap your head around a large amount of time-travel concepts. I won’t go into any more detail than that, but honestly, this film is as confusing on first viewing as Inception was a few years ago.

As with all his previous projects, Christopher Nolan has written the screenplay for the film as well as directing (A note: occasionally he does co-write the screenplay, but on this occasion, he has written it himself, at least as far as the writing credit would indicate). Again, it should come as no surprise to viewers of his previous work(s) that the screenplay is beautifully constructed, if not incredibly confusing. Again, imagine Inception turned up to 11, if you can. I am sure that, like Inception, the film will potentially make more sense on repeat viewings (perhaps several!), but the first time around, you will just need to let yourself be dragged along for the ride.

There are some very clever moments in relation to the notion of time-travel here, moments that will have you saying to yourself (as I did), “Oh! That’s what was happening there!” Again, I won’t be specific here, but trust me, if you watch it, you’ll know what I’m talking about.

Kat (Elizabeth Debicki).

The score for this film was written by Ludwig Göransson, who is probably best known for his Oscar-winning work on the Marvel film Black Panther. And you can definitely hear his “voice” here; the score feels the same way Black Panther’s score felt. I don’t mean that the material sounds the same, it most definitely does not; this score suits this film to a tee, just as Black Panther’s score suited that film to a tee. I simply mean that the tone of the work is similar. There were moments that felt to me to be slightly over-scored (as there were with Black Panther), but this is purely subjective. The music definitely works when it is used, it just seemed to be to be used a little too often.

Cinematographer Hoyte Van Hoytema – who previously worked with Nolan on both Interstellar and Dunkirk – does another incredible job here. We as an audience feel at every moment as though we are right in the midst of events, and every shot is beautifully framed and captured. Light and dark, as well as contrast, highlight and shadow are all used to brilliant effect.

The cast performances are another aspect of this film’s appeal, with every single actor – including those in smaller roles, such as Nolan’s apparent favourite actor Michael Caine – giving their all to their respective performances. I would make particular mention here though of Robert Pattinson and Kenneth Branagh, who are the clear standouts in my opinion. Pattinson gives an amazing performance, far beyond any I have seen of him to date. And Branagh, what can I say about Branagh? All I feel I need to say is that I didn’t even recognise him until seeing his name in the closing credits; his performance was that distinct and that different from anything he has done before.

Sator (Kenneth Branagh) and Protagonist (John David Washington).

There isn’t really much more I can say about this film, other than I think you should avail yourself of the earliest opportunity to experience it for yourself, especially if you have enjoyed any of Nolan’s previous work. I would also posit that this film would be best enjoyed on the big screen, in the sense that you will feel even more in the moment sitting in the dark with the action happening all around you.

This may not be my favourite Nolan film (that honour still goes to, uh, probably The Prestige), but it is definitely up there, and as I mentioned earlier, would certainly benefit from a repeat viewing or seven.

8 out of 10.