Tenet is a film definitely been worth a second viewing, since before seeing it the first time, I didn’t quite get what was going on, and then after seeing it, I was still trying to process it. Another few viewings would still help, though.
John David Washington plays an unnamed CIA agent who’s simply referred to as ‘The Protagonist’, and is told that in order to progress his mission after retrieving a rather odd object in the opening scene, saying the word ‘Tenet’ will open the right doors, but also some of the wrong ones… and as we see that you can simply drop the word into a conversation, what’s to stop someone else finding out the word and using it in other situations? However, that’s not addressed, and given it’s a Christopher Nolan script, the dialogue can be a bit soap-opera-like and doesn’t always have to explain every last thing.
The theme of this film is that some things can travel backwards, while the rest of the world travels forwards – and that it’s not that things ARE happening backwards… they’re actually happening forwards, but to the rest of the world, it just LOOKS like it’s happening backwards. Got it? Good.
This is shown early on as our lead is shown piece of material which has had bullets fired into it, along with some of those bullets, and that thanks to their entropy being “inverted”, he can put his hand over them, and watch them jump into his hand as if you’ve just dropped them onto the table yourself, and then someone’s reversed the footage (which is how those scenes were made, but go with it, anyway.
How is all this a thing? Down to inverse radiation caused by nuclear fission, and it’s come from the future as remnants from a future war… yep, exactly. Someone’s been on the happy sauce. In fact, as he’s told by scientist Barbara (Clémence Poésy), “Don’t try to understand it”… good advice.
Unexplained fires are a matter for the courts!
Canyonero! Canyonero! #
Thrown into the mix is a fake drawing for which the real one is very expensive, Kenneth Branagh with a cod-Russian accent as arms dealer Andrei Sator, who has a penchant for 241 Weapons-Grade Plutonium; Robert Pattinson (The Batman) as the lead’s handler, Neil; Elizabeth Debicki (The Night Manager) as Sator’s very put-upon ex-wife Kat; while Nolan regular Michael Caine also pops up as a man called Sir Michael Crosby, and it’s just one scene, so when the character who meets him is about to leave, it was quite amusing to hear him say, “Goodbye, Sir Michael”, as if Caine has a knighthood… although I actually thought he did 🙂
At the 90-minute mark, we then get a trip into the backwards world for ourselves, but all too often, a fair smattering of the dialogue is quite muffled or drowned out, hence it’s essential to watch with subtitles on, but I would’ve liked to have heard it in the cinema, too. However, it’s what Christopher Nolan likes to do, the same as how Michael Bay was changing widescreen aspect ratios every two seconds (literally!) in Transformers: The Last Knight.
Like with all of Christopher Nolan’s films since 2008’s The Dark Knight, since Warner Bros bought up all of the remaining 70mm IMAX stock for which he appears to have exclusive access, he has shot a large proportion of each film in that format. The first I saw on the big screen was 2012’s The Dark Knight Rises, but I was big-time impressed with 2014’s Interstellar as it made the sci-fi drama one hell of an outing. 2017’s Dunkirk had around 70% of the film shot with such film stock, and brought so much of the movie into incredible vivid detail.
And now, with Tenet, the majority of this film is also made that way. But what’s the big deal about it? Well, if you watch this in a regular cinema (do take the chance when they re-open, as I’m sure it’ll embrace the big screen again), the film will be in a traditional 2.39:1 widescreen aspect ratio, but if you can get to one of the four cinemas in the UK that can show 70mm IMAX film – like the Vue Printworks cinema I attended – you’ll see the picture open vertically to a 1.43:1 aspect ratio which is literally floor-to-ceiling and is breathtaking, leaving memories on the eyeballs to saviour.
There’s so much more to enjoy onscreen, and while there’s not yet an example clip of this film online, I’ll link a Dark Knight Rises clip below, so you can see what the difference is effectively like between a 2.39:1 widescreen ratio, a digital IMAX ratio (well, that is 1.90:1, while they’ve used a slightly taller Blu-ray clip which is 1.78:1) and 70mm IMAX of 1.43:1. The side-by-side clip isn’t as big as you’d see on a cinema screen, obviously, but if you imagine the 70mm IMAX clip as being floor-to-ceiling, you’ll get the idea.
In addition, after this film was put back from mid-July a few times, including being ‘postponed indefinitely’, I half-expected it to be delayed again. I was glad it finally came out, and it’s clear that Christopher Nolan wanted to be seen as ‘the saviour of summer’ by insisting this be the first major release post-lockdown, because most major productions which were due out in 2020 – such as Fast and Furious 9 and A Quiet Place Part II were put back around a year until 2021. Whether they still surface by then is another question.
As such, Warner Bros took one for the team, and it was clear in the weeks following Tenet‘s release that it wasn’t going to break even as Nolan’s previous films did. A film has to take up to 3 times its budget to break even, taking promotion into account. Checking Boxofficemojo, I see Dunkirk cost $100m but took $525m. Of his best before that, Dark Knight Rises cost $250m, but took $1.081m. Interstellar cost $165m and took $702m. All revenue are box office only, so there’s home sales on top of all that.
Tenet cost $200 and took $362m which isn’t bad considering so many places were shut, so how this squares with releasing films in the cinema day/date with HBO Max for 2021 is yet to be seen. I think in any normal year, it would’ve taken $800m+ based on the promotion, and the two male leads. Similarly, while I loved that I could recently see and review Wonder Woman 1984, it’s gutting that its eventual release date coincided with so much more of the country being shut down than before, thanks to the behaviour of the Tories. Hopefully, before long, cinemas can play out to packed audiences again, Gal Gadot’s sequel can have a full theatrical run, and I can get in another viewing of Tenet in 70mm IMAX… although I wonder if I will have to wait until the next Christopher Nolan film is released, and this one will then get a cinema resurgence.
Overall, Tenet is a bit too clever for its own good – as well as borrowing elements from at least one time-bending film at one point, which I will only name in a spoiler section below because if you’ve seen that film as well, you may get what I’m driving at, so if you’re going to see this and you know your films, best wait until afterwards. Either way, this is an absolute visual feast – and if you’re anywhere near a 70mm IMAX showing, do so.
And finally (before I get to the extras), the film teases a potential sequel… or is it a prequel? My head hurts…
The film is almost as breathtaking to watch at home as it was on the big screen (since you haven’t got a floor-to-ceiling screen in front of you), and as I alighted to with the drowned out speech, it’s LOUD! 😀
The extras take us to a second disc, but is mostly one huge making-of, which for most films would be almost feature-length, but to Christopher Nolan, is half-feature-length, so it’s like the length of four regular featurettes in one:
- Looking at the world in a new way: The Making of Tenet (1:15:22): Split into 13 chapters, this goes into detail on many different aspects including chat with key cast and crew, locations and more.
- Trailers: A Teaser (1:!2) – for when the film was meant to have been released on July 17th this year, and three trailers (2:16, 3:00, 3:13), all in 2.39:1. The last one features Travis Scott’s The Plan, from the movie’s soundtrack.
- Audio description: Does exactly what it says on the tin.
The menu features clips from the film set to a piece of the incidental music, subtitles are in English only, but despite the film running for 150 minutes, there’s only 15 chapters for the entire film! For all of Christopher Nolan’s perfection, how come he doesn’t insist a decent amount of chapters?!
Still, as Neil tells our lead at one point, “Does your head hurt yet?”, to which comes the reply, “Yes”.
Running time: 150 minutes
Distributor: Warner Bros
Released: December 14th 2020
Picture: 1080p High Definition
Sound: DTS 5.1 HD Master Audio
Subtitles: English SDH
Widescreen: 1.43:1 (70 mm IMAX – most scenes), 1.90:1 (Digital IMAX – most scenes), 2.20:1 (70mm prints), 2.39:1 (35mm prints)
Disc Format: BD50
Director: Christopher Nolan
Producer: Christopher Nolan, Emma Thomas
Screenplay: Christopher Nolan
Music: Ludwig Göransson
The Protagonist: John David Washington
Neil: Robert Pattinson
Kat: Elizabeth Debicki
Ives: Aaron Taylor-Johnson
Andrei Sator: Kenneth Branagh
Barbara: Clémence Poésy
Wheeler: Fiona Dourif
Sir Michael Crosby: Michael Caine
Mahir: Himesh Patel
Stephen: Andrew Howard
Sammy: Wes Chatham
Priya: Dimple Kapadia
Victor: Martin Donovan
Quinton: Yuri Kolokolnikov
Timmy: Rich Ceraulo Ko
Max: Laurie Shepherd
Toby: Mark Krenik
Sanjay Singh: Denzil Smith
Archibald: Jonathan Camp
Rohan: Anthony Molinari
Reviewer of movies, videogames and music since 1994. Aortic valve operation survivor from the same year. Running DVDfever.co.uk since 2000. Nobel Peace Prize winner 2021.