benhack 🦦’s review published on Letterboxd:
Laura: You're not shooting the bullet. You're catching it.
The Protagonist: Whoa.
it's hard to fathom a conceivable inference for tenet.
on surface value, it cites itself as a brandishing blockbuster of mass appeal, a precedent for nolan's contributions to film.
while it does perpetuate in that inclination, tightly adorned into the great plot virtues, it succumbs to relishing a truly ambivalent and simulatenously ambiguous vision that Christopher nolan has worked up to deduce over the years hes been active.
tenet feels like a grand sentiment to nolan's diligent approach to film making.
paramount in synchronising pragmatic components with contemporary nuances in order to synthesize a concept that doesnt lapse into a synonymous cliche trope of stagnantly watching guns and more gunshots become portrayed, contrarily inducing a special element of anticipation to his merited craft.
each altercation that motivates every individual character is extrapolated in well realised fighting choreography accomodated by sublime editing that enhances the exposition rather than distilling a hindrance in a obligation to present action. this also translates to the practical effects that all glorify the proxemics of the power of weaponry, catalyzed by being unadulterated with a emphatic bass boost in the sounds dept.
hans zimmer is seemingly absent in this nolan film, with a valiant replacement of Ludwig göransson introduced to accomodate the score.
yielded is a very potent soundtrack that displays fidelity to the on screen dynamics and remits the intended tone in various sequences as well.
also the instrumental of the plan by travis as John David advances to the algorithm is godly.
although on occasions its as if hes futile in attempting to emulate Zimmers technique of reciprocating the same base theme music whenever batman would be on the screen to whenever the protagonist is on, except it doesn't hit as well imo, although this is v v incremental.
and a tepremental issue that is a bit burdening atm is the slightly ass sound mastering of the music inhibiting the dialogue. but if you focus on this unintelligible hindrance, then it kind of excavates you out and its probably just better to prepare to interpret what the characters are saying. although I hope this gets amended possibly for the US release.
a poignant discrepancy poised by most towards this film is how the deliberating exposition rectifys into conjecture.
while I see the validity of the argument, either watching the film again or seeking out further context helps to comprehend the film into a holistic scope and in my case, relish in my appreciation for this film a bit more.
but adversely there is a gratifying notion in interpreting the film for its quirks, which in a collateral act, makes the film more lucrative, inducing a greater incentive to rewatch as you orient the context/interpretation fostered into the film.
John David Washington certainly thrives in this film, his habitual demeanors of lack of resentment fluctuating to suffice also satisfying charisma compulse him to being a ample nonchalant versed protagonist that definitely dignifys as pronounced from other nolan characters, rather than falling into complacency.
then ricocheted off with a altruistic and aristocratic Robert Pattinson was simply a embellished match made in heaven, compensating for Kenneth branagh's slightly compromised yet marginally flagrant role of a Russian billionaire character.
I definitely get the feeling that this film will incept the same fate as interstellar where people begin to cherish this film more for what it presents in the future.
psa: idk why I'm impulsively lenient to nolan, I think his sentiment to sustaining liberating cinema indoctrinates me
I think that with perhaps another watch, I could establish this as my favourite nolan film.
one more watch could make this film resonant to a 5/5 accolade meesa thinks