The Wylde Review: TENET
Review by Alex Griffin
Christopher Nolan’s hotly anticipated, high concept, time twister arrives – despite several delays – with a bang, which it is hoped, will kickstart going to the cinema again. It promises high octane thrills, but its disorientating narrative might serve to alienate its audience.
‘The Protagonist’ John David Washington (BlacKkKlansman) is recruited by a mysterious organisation to save humanity, by preventing nuclear armageddon at the hands of oligarch-turned-sociopath Andrei Sator (Kenneth Brannagh). Clear enough? In theory, but of course this is the Nolan universe and things are seldom so straightforward. The secret service to which the protagonist has enlisted refers to itself only as ’Tenet’. Following a cryptic briefing, our hero learns that the fate of the world is now compromised by something called Inversion – a process by which entropy becomes disordered. Subsequently objects - and, indeed, people - find their trajectory reversed as they appear to move backwards through time.
Nolan is famed for his obsession with the complexities of time and differing modes of experiencing it. Like his earlier works, Tenet explores the concept of distorted chronology. As with Interstellar, time is represented as a tangible physical dimension and, as such, capable of manipulation. Simultaneously, a non-linear structure forces us into a continual disorientation reminiscent of Memento.
As with Interstellar, Nolan acquired input from theoretical theorist Kip Thorne. However, whilst the plot may be grounded in actual plausible science it is virtually impossible to keep track of. Events become increasingly bewildered as the protagonist attempts to negotiate his way through temporal stiles and pincer movements. “Don’t try to understand… feel it!” insists Clémence Poésy’s scientist Laura.
Traditionally, the word ‘Tenet’ denotes an overriding faith in a belief or principle. Nolan urges us to trust in his narrative (even if we don’t fully comprehend it), feel the aesthetic and go with the flow. On a level Tenet works if you just sit back and enjoy the ride. Cinematographer Hoyte Van Hoytema uses Nolan’s preferred method of shooting in 70mm IMAX to provide seriously electrifying action set pieces. A high octane catamaran sequence and inverted car chase afford the viewer the chance to feel some fully immersed adrenaline.
Relative newcomer Washington assumes the physically of his role with assured competency. Unfortunately the script never really offers him the opportunity to inject any personality into the proceedings. One of the problems with Tenet is its lack of heart. Most of characters exhibit an aloof detachment which prevents us from becoming fully engaged. It’s left to Robert Pattinson’s charmingly odd physicist-turned-secret agent to provide the only real element of human quirkiness. Elizabeth Debicki is an impressive actress although she can do little more here than repeat her role from BBC’s The Night Manager.
The overriding problem with Tenet is that its plot is so ridiculously abstract and confusing. Unlike Nolan’s earlier showstopper Inception, there is no series of sumptuously ingenious layers to peel back. There’s a sense of superiority, an instance that the view doesn’t need to understand the mechanics. Its a disappointment from someone so accomplished at fusing both intellect and visual spectacle.
An awful lot rides on Tenet. As the first post-corona blockbuster, it’s tasked with almost single-handedly reviving the movie theatre. The industry will be tentatively watching; hoping amidst a sea of delayed releases, that like the protagonist, the masses are prepared to brave the new world.