Tenet (2020) Review

It took a little longer than expected (originally set for a mid-July release) but with Tenet, Christopher Nolan has reopened the film industry. Well, in the UK at least. While his financial success is yet to be measured - an opening weekend above $3 million (Dunkirk launched with over $13 million in the UK) would be considered a win in 2020's climate - it is rather fitting to see cinema return with a mind-bending, smart and thrilling instant classic.

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Thought-provoking in a way that only Nolan could be, Tenet is a high-concept, high-intellect actioner that edges out today's genre leaders: John Wick and James Bond. While the action has been tamed to achieve a 12A certification in the UK, the film's still brutal fight scenes are inventive and excellently choreographed. Who else would think of directing an inverted action sequence, heist or car chase? The intensity is heightened by terrific sound mixing (the inverted bullets!) and an invigorating score from Ludwig Göransson (The Mandalorian).

As well as terrific action, Tenet has a mysterious and engaging plot, beautiful, globe-trotting locales, a deranged God-like villain and a compelling leading man (John David Washington). Instead of sitting back and waiting to be hired by Universal, Nolan directed the best, albeit unofficial, James Bond entry I have seen. Moreover, if Idris Elba is no longer interested in the role, Washington would be a great choice to play Bond in the future.

If BlackKkKlansman didn't do it already, Tenet is a star-turn for Washington. His commanding and punchy performance as The Protagonist makes up for the character's minimal development. Likewise, Tenet should be a reassuring reminder to mainstream audiences that Robert Pattinson (soon to be R-Batz) can act. His performance is nuanced and his chemistry with Washington is warming.

In the past, Nolan has been criticised for his handling of female characters. He has been known to "fridge" (kill) the women in his films in order to give his male heroes a reason to angst. However, Tenet's leading lady Kat (played by the brilliant Elizabeth Debicki) sees a different fate. Kat is an abused and oppressed wife who becomes a vengeful femme fatale. Her bold styling is intentional, her desire for a better relationship with her son is saddening and her character arc is satisfying. Throw in a few female masterminds (Dimple Kapadia shines) and I guess it could be said that Nolan is improving.

Having said that, Nolan's female representation still needs some work. Although she is one of Nolan's better female characters, Kat's time spent in distress and her overemphasised maternal instincts are limiting and almost confine her to a 'weak mother' archetype. Not to mention that an argument could still be made that Kat is "fridged"...

Tenet, as fantastic as it is, is not without its flaws. Despite running for 150 minutes, the film's third act feels rushed. The narrative upscales from a futuristic rescue mission to a panic-stricken Armageddon within minutes, and the antagonist's reasoning is awkwardly comparable to the motivations of the 2000s' Jigsaw Killer. Thankfully, these issues are complimented by a second viewing where it is easier to keep up with Nolan's pace. And to anyone completely overwhelmed by Tenet's mind-bending ideas, "don't try to understand it, feel it".

There is a lot to spoil about Tenet (respectfully, this has been a spoiler-free review) but one of my most unexpected takeaways was that Christopher Nolan's career trajectory is very comparable to Lady Gaga's. Let me explain. After a slew of Caped Crusader and dimension-blurring megahits, Nolan directed Dunkirk - a mature and historical passion project that cemented his masterful artistry among critics and audiences. It was Nolan's 'Joanne' (Gaga's acclaimed stripped-back fifth studio album). Three years later and Nolan returns to form with Tenet. A film that is a triumphant culmination of his most iconic tropes, themes and filmic techniques. Tenet is Nolan's 'Chromatica' (Gaga's latest) - an album admired as "an embellishment of who [Gaga] is, both inward and outward, in a moment where the world needs beating, pulsating music to get lost in" and, in an alternate timeline, Nolan's Tenet would be described in the exact same way. Cinema is back, baby!

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