It’s complicated, in a way, to parse the experience. There’s the feeling of being back in a movie theater, and then there’s the sensations particular to “Tenet.” For Christopher Nolan, whose films build their conceptual architecture around the metaphysics of movies themselves, it’s kind of one and the same. His movies are designed, from a molecular level, to unlock innate cinematic powers and glorify the almighty Big Screen — a lonely god these last few months.
As the first major film released in theaters since the pandemic began, “Tenet” has swelled in the minds of anxious moviegoers, adopting the role of savior. Nolan vs. COVID-19 is as much part of the drama of “Tenet” as anything on screen, and just as convoluted and disorienting. Seeing “Tenet” for this critic meant crossing numerous state lines and watching it at a nearly empty movie theater — a luxury of social distancing that won’t be possible for most, even in reduced capacity theaters. At its best, moviegoing has always been thrilling, even dangerous. That may be doubly so right now.
For better and worse, “Tenet” is just a movie. It won’t beat the virus and it won’t singlehandedly save movie theaters. It won’t even really blow your mind. But for much of its 150-minute running time, Nolan’s globe-trotting sci-fi riff on the spy thriller will provide a dazzling escape, one dense with singular imagery and intellectual puzzles. And, perhaps most vitally, it will give a cool, brutalist refresher of the movies’ capacity for awe, for imagination, and, yes, for tiresome grandiosity. For the palindromic “Tenet,” it cuts both ways.
This story is from the Techlife News #462 edition of Techlife News.
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This story is from the Techlife News #462 edition of Techlife News.
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