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Current status - Released
Total runtime - 150 mins.
Release date - 22-08-2020
Release year - 2020
Genres - Action, Science Fiction, Thriller
Overall ratings and scores for Tenet:
Happiness Score - 7.182/10, World Popularity Score - 64.057/100, IMDB Score - 7.3, Metascore - 69, Internet Movie Database - 7.3/10, Rotten Tomatoes - 69%, Metacritic - 69/100, .
Tenet movie has Total Global Votes - 9177, Total IMD Votes - 579,555
Tenet Movie Introduction: Movie Tenet, release year 2020 is written by Christopher Nolan and directed by Christopher Nolan. The leading star-cast in this movie are John David Washington, Robert Pattinson, Elizabeth Debicki along with the other stars and crew members.
Trailers, Clips, Featurettes and Behind the Scenes
Re-Release Trailer
Final Trailer
New Trailer
Official Trailer
Tenet Wins Special Visual Effects | EE BAFTA Film Awards 2021
Try And Keep Up: John David Washington and Travis Scott
Movie overview and plot by Anagha Shashank
Movie in-short: Armed with only one word, Tenet, and fighting for the survival of the entire world, a Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time.
Movie story-line: Armed with only one word - Tenet - and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time.
Movie synopsis: In a twilight world of international espionage, an unnamed CIA operative, known as The Protagonist, is recruited by a mysterious organization called Tenet to participate in a global assignment that unfolds beyond real time. The mission: prevent Andrei Sator, a renegade Russian oligarch with precognition abilities, from starting World War III. The Protagonist will soon master the art of "time inversion" as a way of countering the threat that is to come.
Highlights - Tenet (2020)
Total budget - $205,000,000.00
Total revenue - $365,304,105.00
Produced by - Warner Bros. PicturesSyncopy
Produced in - United KingdomUnited States of America
Available languages - English (English), Estonian (Eesti),
Homepage URL - https://www.tenetfilm.com/
Awards won / Nominations - Won 1 Oscar. 49 wins & 136 nominations total
Certificate(s) - AT : 12 AU : M AU : M BH : 14 BH : 14 BR : 12 CN : 12 CN : 12 CN : 12 DE : 12 DE : 12 DK : TP EE : IIA ES : 16 ES : 16 ES : 16 FI : All GB : T ID : P13 IL : 12 IN : 12 IS : 13 IS : M IT : PG-13 IT : PG-13 IT : PG-13 KW : 16+ KW : 16+ KZ : 15 LB : PG13 LV : 12 MY : G NG : 13+ NL : 保護級 NZ : PG-13 NZ : PG-13 NZ : PG-13 NZ : PG-13
Lead Actors, Writer(s), Director(s) of Tenet (2020)
Lead Actors - John David Washington, Robert Pattinson, Elizabeth Debicki
Writer(s) - Christopher Nolan
Director(s) - Christopher Nolan
Frequently Asked Questions(FAQ) about Tenet (2020)
What is the release date of Tenet (2020)?
Release date of Tenet (2020) is 22-08-2020.
What is the total runtime of Tenet (2020) in minutes?
Total runtime of Tenet (2020) in minutes is 150 min.
What is the budget consumed to produce Tenet (2020) movie?
The budget consumed to produce Tenet (2020) movie is around $205,000,000.00.
How much revenue is expected from movie Tenet (2020)?
Expected revenue from movie movie Tenet (2020) is around $365,304,105.00.
What is the pupularity of Tenet (2020)?
Worldwide pupularity of Tenet (2020) movie is 64.057%.
What is the name of the production company of film Tenet (2020)?
Production company of film Tenet (2020) is/are Warner Bros. Pictures, Syncopy, .
Which country the film Tenet (2020) is produced in?
Film production country for the film Tenet (2020) is United Kingdom, United States of America, .
Which language the film Tenet (2020) is produced in?
Film Tenet (2020) is produced in English (English), Estonian (Eesti), language(s).
Which Genre the film Tenet (2020) belongs to?
Movie Tenet (2020) is categorized under Action, Sci-Fi, Thriller genre(s).
Who are the lead actors of the film Tenet (2020)?
Lead actors of the film Tenet (2020) are John David Washington, Robert Pattinson, Elizabeth Debicki.
Who is the writer of the film Tenet (2020)?
The writer(s) of the film Tenet (2020) is/are Christopher Nolan.
Who is the director of the film Tenet (2020)?
The director(s) of the film Tenet (2020) is/are Christopher Nolan.
Which awards, nominations and recognitions are won by Tenet (2020) movie?
Movie Tenet (2020) has Won 1 Oscar. 49 wins & 136 nominations total awards and nomination in it's profile.
What is the story of Tenet (2020) in-short?
Short plot of movie Tenet (2020): Armed with only one word, Tenet, and fighting for the survival of the entire world, a Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time..
What is the full story of Tenet (2020) movie?
Full plot of movie Tenet (2020): In a twilight world of international espionage, an unnamed CIA operative, known as The Protagonist, is recruited by a mysterious organization called Tenet to participate in a global assignment that unfolds beyond real time. The mission: prevent Andrei Sator, a renegade Russian oligarch with precognition abilities, from starting World War III. The Protagonist will soon master the art of "time inversion" as a way of countering the threat that is to come..
Where to find full details of Tenet (2020) movie?
You can find the full details of movie Tenet (2020) at https://www.imdb.com/title/tt6723592
Where to stream or watch movie Tenet (2020) online?
You can stream or watch online movie Tenet (2020) on Netflix, Amazon Prime Video, Apple TV, Google Play Movies, HBO Max, MovistarTV, DIRECTV GO, Max, Claro video, Amazon Video, Rakuten TV, maxdome Store, Sky Store, BINGE, Microsoft Store, YouTube, Telstra TV, NOW, Oi Play, Cineplex, blue TV, UPC TV, O2 TV, MagentaTV, Videoload, Viaplay, Blockbuster, SF Anytime, Netflix basic with Ads, Telia Play, Canal VOD, Universcine, Catchplay, VI movies and tv, wavve, Pathé Thuis, KPN, meJane, TV 2 Play, Horizon, Player, TV+, AMC on Demand, Spectrum On Demand, BoxOffice, .
List of full Starcast and crew members of Tenet (2020)
Full Starcast:
Name: John David Washington
Character: The Protagonist
Name: Robert Pattinson
Character: Neil
Name: Elizabeth Debicki
Character: Kat
Name: Kenneth Branagh
Character: Andrei Sator
Name: Dimple Kapadia
Character: Priya
Name: Himesh Patel
Character: Mahir
Name: Aaron Taylor-Johnson
Character: Ives
Name: Michael Caine
Character: Sir Michael Crosby
Name: Clémence Poésy
Character: Barbara
Name: Martin Donovan
Character: Fay
Name: Yuri Kolokolnikov
Character: Volkov
Name: Anthony Molinari
Character: Rohan
Name: Laurie Shepherd
Character: Max
Name: Fiona Dourif
Character: Wheeler
Name: Juhan Ulfsak
Character: Passenger
Name: Jefferson Hall
Character: Well-dressed Man
Name: Ivo Uukkivi
Character: Uniformed Official
Name: Andrew Howard
Character: Driver
Name: Rich Ceraulo Ko
Character: SWAT / Target
Name: Jonathan Camp
Character: SWAT 2
Name: Wes Chatham
Character: SWAT 3
Name: Sander Rebane
Character: Ukrainian SWAT
Name: Josh Stewart
Character: Male Voice
Name: Denzil Smith
Character: Sanjay
Name: Jeremy Theobald
Character: Steward
Name: Tom Nolan
Character: Shipley's Representive
Name: Marcel Sabat
Character: Gaunt Russian
Name: Julia-Maria Arnolds
Character: Nanny
Name: Jack Cutmore-Scott
Character: Klaus
Name: Adam Cropper
Character: Young Andrei Sator
Name: Tony Christian
Character: Gold Bar Thief
Name: Jan Uuspõld
Character: Blue Co-Pilot
Name: Kaspar Velberg
Character: Police Operator
Name: Sergo Vares
Character: Police Supervisor
Name: Rain Tolk
Character: Policeman Passenger
Name: Henrik Kalmet
Character: Medic
Name: Sean Avery
Character: Red Soldier 1
Name: John Orantes
Character: Red Soldier 2
Name: Seb Carrington
Character: Junior Crew Member
Name: Matthew Marsden
Character: Blue Team Soldier
Name: Kenneth Wolf Andersen Haugen
Character: Tourist in Oslo (uncredited)
Name: Marek Angelstok
Character: Usher (uncredited)
Name: Klaus Peeter Rüütli
Character: SWAT (uncredited)
Name: Daniel Olesk
Character: SWAT (uncredited)
Name: Ingrid Margus
Character: Usher (uncredited)
Name: Carina Velva
Character: Tourist in Oslo (uncredited)
Name: Glenn Lawrence
Character: Russian Soldier (uncredited)
Name: Katie McCabe
Character: Flight Attendant Anne (uncredited)
Name: Ronald Pelin
Character: Art Gallery Employee (uncredited)
Name: Schezaad Ausman
Character: High Security Guard (uncredited)
Name: Anterro Ahonen
Character: Military Officer (uncredited)
Name: Aleksei Podlesnov
Character: Pedestrian (uncredited)
Name: Trent Buxton
Character: Soldier (uncredited)
Name: Jess Weber
Character: Soldier (uncredited)
Name: Martin Tõnumaa
Character: Soldier (uncredited)
Name: Lisa Marie
Character: Soldier (uncredited)
Name: Loora-Eliise Kaarelson
Character: Coat Check Girl (uncredited)
Name: Andres Oja
Character: Audience Member (uncredited)
Name: Anton Klink
Character: Audience Member (uncredited)
Name: Viktoria Jelizarova
Character: Hostage (uncredited)
Name: Mark Krenik
Character: Toby (uncredited)
Crew Members:
Name: Anna Pinnock
Department: Art
Job/Role: Set Decoration
Name: Christopher Nolan
Department: Directing
Job/Role: Director
Name: Christopher Nolan
Department: Production
Job/Role: Producer
Name: Christopher Nolan
Department: Writing
Job/Role: Writer
Name: Emma Thomas
Department: Production
Job/Role: Producer
Name: John Papsidera
Department: Production
Job/Role: Casting
Name: Jeffrey Kurland
Department: Costume & Make-Up
Job/Role: Costume Design
Name: Catherine Harper
Department: Sound
Job/Role: Foley Artist
Name: Christopher Moriana
Department: Sound
Job/Role: Foley Artist
Name: James Armstrong
Department: Crew
Job/Role: Stunts
Name: Nathan Crowley
Department: Art
Job/Role: Production Design
Name: Mike Estes
Department: Crew
Job/Role: Stunts
Name: Fabio Massimo Dell'Orco
Department: Production
Job/Role: Unit Production Manager
Name: Scott Curtis
Department: Sound
Job/Role: Foley Mixer
Name: Steve DeCastro
Department: Crew
Job/Role: Stunts
Name: Joseph Fraioli
Department: Sound
Job/Role: Sound Effects Editor
Name: Clay Cullen
Department: Crew
Job/Role: Stunts
Name: Kathy Lucas
Department: Art
Job/Role: Set Decoration
Name: Danny Downey
Department: Crew
Job/Role: Stunts
Name: Laurence Esnault
Department: Costume & Make-Up
Job/Role: Ager/Dyer
Name: David Bach
Department: Sound
Job/Role: ADR Supervisor
Name: Hoyte van Hoytema
Department: Camera
Job/Role: Director of Photography
Name: Shelley Roden
Department: Sound
Job/Role: Foley Artist
Name: Laura Rindner
Department: Editing
Job/Role: First Assistant Editor
Name: Rob Mars
Department: Crew
Job/Role: Stunts
Name: Andy Thompson
Department: Production
Job/Role: Co-Producer
Name: Eddie Yansick
Department: Crew
Job/Role: Stunts
Name: Ludwig Göransson
Department: Sound
Job/Role: Original Music Composer
Name: William Fletcher
Department: Editing
Job/Role: Assistant Editor
Name: Eggert Ketilsson
Department: Art
Job/Role: Supervising Art Director
Name: Alice Rietveld
Department: Crew
Job/Role: Stunts
Name: Terry Jackson
Department: Crew
Job/Role: Stunts
Name: Douglas Shamburger
Department: Sound
Job/Role: Boom Operator
Name: Jim Wilkey
Department: Crew
Job/Role: Stunts
Name: Katelyn Brooke
Department: Crew
Job/Role: Stunts
Name: Samuel Le
Department: Crew
Job/Role: Stunts
Name: George Cottle
Department: Crew
Job/Role: Stunt Coordinator
Name: Shahbaz Aynoddin
Department: Production
Job/Role: Location Manager
Name: Jennifer Lame
Department: Editing
Job/Role: Editor
Name: John Roesch
Department: Sound
Job/Role: Foley Artist
Name: Alis Mäesalu
Department: Art
Job/Role: Art Department Coordinator
Name: Mike Chambers
Department: Visual Effects
Job/Role: Visual Effects Producer
Name: Jack Edjourian
Department: Crew
Job/Role: Special Effects Technician
Name: Connie Kallos
Department: Costume & Make-Up
Job/Role: Hairstylist
Name: Ed W. Marsh
Department: Crew
Job/Role: Visual Effects Editor
Name: Stephen Christensen
Department: Art
Job/Role: Art Direction
Name: David Hugghins
Department: Crew
Job/Role: Stunts
Name: Andrés Barrientos
Department: Directing
Job/Role: Additional Second Assistant Director
Name: Michael Sexton
Department: Art
Job/Role: Property Master
Name: Kristjan Pütsep
Department: Crew
Job/Role: Special Effects
Name: Alice Ford
Department: Crew
Job/Role: Stunts
Name: Randy Singer
Department: Sound
Job/Role: Foley Mixer
Name: Frantisek Deak
Department: Crew
Job/Role: Stunts
Name: Kofi Yiadom
Department: Crew
Job/Role: Stunts
Name: Kristiina Ago
Department: Costume & Make-Up
Job/Role: Costumer
Name: Luisa Abel
Department: Costume & Make-Up
Job/Role: Makeup Department Head
Name: Melinda Sue Gordon
Department: Camera
Job/Role: Still Photographer
Name: John Casey
Department: Costume & Make-Up
Job/Role: Costume Supervisor
Name: Craig Henningsen
Department: Crew
Job/Role: Stunts
Name: Ray Siegle
Department: Crew
Job/Role: Stunts
Name: Richard King
Department: Sound
Job/Role: Sound Designer
Name: Richard King
Department: Sound
Job/Role: Supervising Sound Editor
Name: Chris Grabher
Department: Crew
Job/Role: Stunts
Name: Jallo Faber
Department: Camera
Job/Role: Camera Operator
Name: Julie Hannum
Department: Production
Job/Role: Location Manager
Name: James R. McAllister
Department: Production
Job/Role: Unit Production Manager
Name: Scott R. Fisher
Department: Visual Effects
Job/Role: Special Effects Supervisor
Name: Jiří Kraus
Department: Crew
Job/Role: Stunts
Name: Steve Gehrke
Department: Directing
Job/Role: Script Supervisor
Name: Timothy Eulich
Department: Crew
Job/Role: Stunts
Name: Michael W. Mitchell
Department: Sound
Job/Role: Sound Effects Editor
Name: Joe Ondrejko
Department: Art
Job/Role: Construction Coordinator
Name: Craig Hosking
Department: Crew
Job/Role: Pilot
Name: Luis G. Hoyos
Department: Art
Job/Role: Set Designer
Name: Walter Schneider
Department: Art
Job/Role: Draughtsman
Name: Jenne Lee
Department: Art
Job/Role: Supervising Art Director
Name: Alyson Dee Moore
Department: Sound
Job/Role: Foley Artist
Name: Hans Bjerno
Department: Camera
Job/Role: Aerial Director of Photography
Name: Mark Larry
Department: Sound
Job/Role: Sound Effects Editor
Name: Katherine Rose
Department: Sound
Job/Role: Foley Artist
Name: Tina Anderson
Department: Crew
Job/Role: Post Production Supervisor
Name: Ville Penttilä
Department: Lighting
Job/Role: Chief Lighting Technician
Name: Bruce Tanis
Department: Sound
Job/Role: Foley Supervisor
Name: Abi Cadogan
Department: Crew
Job/Role: Visual Effects Editor
Name: David Drzewiecki
Department: Visual Effects
Job/Role: VFX Director of Photography
Name: David Drzewiecki
Department: Visual Effects
Job/Role: Visual Effects Camera
Name: Scott R. Hankins
Department: Costume & Make-Up
Job/Role: Set Costumer
Name: Nick Fulton
Department: Production
Job/Role: Unit Production Manager
Name: Shane Daniels
Department: Crew
Job/Role: Stunts
Name: Joe Hopker
Department: Costume & Make-Up
Job/Role: Hairstylist
Name: Klaus Große Darrelmann
Department: Production
Job/Role: Location Manager
Name: Jay Wejebe
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Ryan Young
Department: Crew
Job/Role: Mix Technician
Name: Russell Farmarco
Department: Sound
Job/Role: Dialogue Editor
Name: Jim Dowdall
Department: Crew
Job/Role: Stunts
Name: Toby Britton
Department: Art
Job/Role: Supervising Art Director
Name: Thomas Hayslip
Department: Production
Job/Role: Executive Producer
Name: Thomas Hayslip
Department: Production
Job/Role: Unit Production Manager
Name: Mika Saito
Department: Production
Job/Role: Unit Production Manager
Name: Andrew Lockley
Department: Visual Effects
Job/Role: Visual Effects Supervisor
Name: Dane Bjerno
Department: Camera
Job/Role: Aerial Camera Technician
Name: Eric A. Lewy
Department: Editing
Job/Role: First Assistant Editor
Name: Benjamin Nowicki
Department: Art
Job/Role: Art Direction
Name: Alison Banks
Department: Production
Job/Role: Unit Production Manager
Name: Phillip Howard
Department: Costume & Make-Up
Job/Role: Key Costumer
Name: Michael Garcia
Department: Art
Job/Role: Set Dresser
Name: Camille Friend
Department: Costume & Make-Up
Job/Role: Hair Department Head
Name: David Packard
Department: Art
Job/Role: Art Direction
Name: Jessica Brooks
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Andrew Blustain
Department: Editing
Job/Role: Assistant Editor
Name: Paul J. Hayes
Department: Art
Job/Role: Construction Manager
Name: Richard George
Department: Production
Job/Role: Location Manager
Name: Ian Clarke
Department: Crew
Job/Role: Picture Car Coordinator
Name: Martin Kildegaard Hem
Department: Directing
Job/Role: First Assistant Director
Name: Justin O'Neal Miller
Department: Art
Job/Role: Art Direction
Name: Enrico Latella
Department: Production
Job/Role: Location Manager
Name: Travis Witkowski
Department: Art
Job/Role: Assistant Art Director
Name: Mark Weissenfluh
Department: Art
Job/Role: Leadman
Name: Andrew Bock
Department: Sound
Job/Role: First Assistant Sound Editor
Name: Dan Neal
Department: Crew
Job/Role: Digital Effects Supervisor
Name: Mark Avery
Department: Costume & Make-Up
Job/Role: Set Costumer
Name: Ferdinando Merolla
Department: Costume & Make-Up
Job/Role: Hairstylist
Name: Nick Benseman
Department: Crew
Job/Role: Stunts
Name: Audrey Doyle
Department: Costume & Make-Up
Job/Role: Key Makeup Artist
Name: Eric Richard Lasko
Department: Directing
Job/Role: Second Assistant Director
Name: Guy Belegaud
Department: Art
Job/Role: Construction Foreman
Name: Ryan Hosking
Department: Crew
Job/Role: Aerial Coordinator
Name: Flora Nolan
Department: Art
Job/Role: Art Department Assistant
Name: Unsun Song
Department: Sound
Job/Role: Sound Mix Technician
Name: Tom Carson
Department: Production
Job/Role: Production Coordinator
Name: Aisling Nairn
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Jeff Winn
Department: Crew
Job/Role: Craft Service
Name: Rishi Umrania
Department: Lighting
Job/Role: Chief Lighting Technician
Name: Nicholas Fitzgerald
Department: Sound
Job/Role: Music Editor
Name: Kevin Bitters
Department: Crew
Job/Role: Pyrotechnician
Name: Willie D. Burton
Department: Sound
Job/Role: Sound Mixer
Name: Ray Milazzo
Department: Camera
Job/Role: First Assistant "B" Camera
Name: Liam Georgensen
Department: Art
Job/Role: Art Direction
Name: Joel Michael Kramer
Department: Crew
Job/Role: Stunts
Name: Vishal Tyagi
Department: Visual Effects
Job/Role: Special Effects Supervisor
Name: Kenneth Cassar
Department: Crew
Job/Role: Pyrotechnician
Name: Kil Won Yu
Department: Art
Job/Role: Set Designer
Name: Nilo Otero
Department: Directing
Job/Role: First Assistant Director
Name: John Lee
Department: Editing
Job/Role: Associate Editor
Name: Jason Curle
Department: Crew
Job/Role: Stunts
Name: Jan Loukota
Department: Crew
Job/Role: Stunts
Name: Jaroslav Peterka
Department: Crew
Job/Role: Stunts
Name: Miloš Kulhavý
Department: Crew
Job/Role: Stunts
Name: Abdelfattah Qzaibar
Department: Costume & Make-Up
Job/Role: Key Costumer
Name: Don Domino
Department: Lighting
Job/Role: Rigging Grip
Name: Ivo Felt
Department: Production
Job/Role: Line Producer
Name: Hella Marats
Department: Costume & Make-Up
Job/Role: Hairstylist
Name: Anni Lindal
Department: Art
Job/Role: Art Direction
Name: Liisi Põllumaa
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Enar Tarmo
Department: Crew
Job/Role: Stunts
Name: Age Viks
Department: Production
Job/Role: Extras Casting Assistant
Name: Triin Valvas
Department: Art
Job/Role: Art Direction
Name: Herb Ault
Department: Camera
Job/Role: Key Grip
Name: Jeff Brinker
Department: Lighting
Job/Role: Rigging Grip
Name: Keith B. Davis
Department: Camera
Job/Role: First Assistant "A" Camera
Name: Chiara Marona
Department: Costume & Make-Up
Job/Role: Costumer
Name: Tiiu-Ann Pello
Department: Art
Job/Role: Art Direction
Name: Tõnis Pill
Department: Directing
Job/Role: Additional Second Assistant Director
Name: Johanna Maria Paulson
Department: Directing
Job/Role: Third Assistant Director
Name: Markus Andreas
Department: Sound
Job/Role: Sound Mixer
Name: Emmanuel Delis
Department: Art
Job/Role: Set Decoration
Name: Paul Darnell
Department: Crew
Job/Role: Stunts
Name: Jeremy Fry
Department: Crew
Job/Role: Stunts
Name: Harry Lu
Department: Crew
Job/Role: Armorer
Name: Duffy Gaver
Department: Crew
Job/Role: Stunts
Name: Dhamarata Dhiensuwana
Department: Lighting
Job/Role: Key Rigging Grip
Name: Krystina Figg
Department: Camera
Job/Role: Grip
Name: Sara O'Donnell
Department: Costume & Make-Up
Job/Role: Assistant Costume Designer
Name: R. Adam Chambers
Department: Lighting
Job/Role: Chief Lighting Technician
Name: Andrew Jackson
Department: Visual Effects
Job/Role: Visual Effects Supervisor
Name: Szandra Bíró
Department: Costume & Make-Up
Job/Role: Hairstylist
Name: Matt Baker
Department: Crew
Job/Role: Stunts
Name: Per Henry Borch
Department: Production
Job/Role: Line Producer
Name: David Paris
Department: Crew
Job/Role: Aerial Coordinator
Name: Susan Towner
Department: Production
Job/Role: Unit Production Manager
Name: Helen Medrano
Department: Production
Job/Role: Associate Producer
Name: Linda Griffis
Department: Production
Job/Role: Assistant Accountant
Name: Pearce Roemer
Department: Editing
Job/Role: Assistant Editor
Name: Randy Torres
Department: Sound
Job/Role: Sound Effects Editor
Name: Caleb Spillyards
Department: Crew
Job/Role: Stunts
Name: Christopher Troy
Department: Crew
Job/Role: Stunts
Name: Rodney Burke
Department: Visual Effects
Job/Role: Pyrotechnic Supervisor
Name: Emeri Abel
Department: Directing
Job/Role: Third Assistant Director
Name: Eric Glasser
Department: Directing
Job/Role: Second Assistant Director
Name: Brycen Counts
Department: Crew
Job/Role: Stunts
Name: Tom Crisp
Department: Crew
Job/Role: Stunts
Name: Jenny Fumarolo
Department: Production
Job/Role: Production Supervisor
Name: Letizia Santucci
Department: Art
Job/Role: Set Decoration
Name: Franco Basaglia
Department: Directing
Job/Role: First Assistant Director
Name: Anthony D. Parrillo
Department: Art
Job/Role: Art Direction
Name: Darrin Mann
Department: Sound
Job/Role: Foley Mixer
Name: Donny Carrington
Department: Crew
Job/Role: Stunts
Name: Jackson Spidell
Department: Crew
Job/Role: Fight Choreographer
Name: Fante Zamora
Department: Art
Job/Role: Set Dresser
Name: Kim Winther
Department: Production
Job/Role: Casting Associate
Name: Alessandro Manni
Department: Production
Job/Role: Production Supervisor
Name: Jessica Woodland
Department: Production
Job/Role: Location Coordinator
Name: Mindy Iler
Department: Costume & Make-Up
Job/Role: Costumer
Name: Andy Williams
Department: Visual Effects
Job/Role: Special Effects Supervisor
Name: Robert Guerrero
Department: Crew
Job/Role: Set Production Assistant
Name: Mona Bernal
Department: Production
Job/Role: Production Coordinator
Name: Mallory Thompson
Department: Crew
Job/Role: Stunts
Name: Erik Osusky
Department: Art
Job/Role: Art Direction
Name: Tim McGaughy
Department: Crew
Job/Role: Picture Car Coordinator
Name: Scott Wesley Ross
Department: Editing
Job/Role: Assistant Editor
Name: Krista Guggia
Department: Costume & Make-Up
Job/Role: Key Costumer
Name: Ryan Monro
Department: Camera
Job/Role: Key Grip
Name: Carmela Compagnone
Department: Production
Job/Role: Production Accountant
Name: Kyle Mclean
Department: Crew
Job/Role: Stunts
Name: Chris Pollard
Department: Crew
Job/Role: Stunts
Name: Michele Flynn
Department: Costume & Make-Up
Job/Role: Ager/Dyer
Name: Paul Mugavero
Department: Art
Job/Role: Set Dresser
Name: Cody Banta
Department: Crew
Job/Role: Stunts
Name: Tor Arne Øvrebø
Department: Production
Job/Role: Unit Production Manager
Name: Kofi Elam
Department: Crew
Job/Role: Stunts
Name: Taylor McDonald
Department: Crew
Job/Role: Stunts
Name: Sharon Fauvel
Department: Costume & Make-Up
Job/Role: Ager/Dyer
Name: Ross Kohnstam
Department: Crew
Job/Role: Stunts
Name: Erkki Tikan
Department: Crew
Job/Role: Armorer
Name: Johanna Trass
Department: Production
Job/Role: Production Manager
Name: Kristofer Piir
Department: Production
Job/Role: Location Manager
Name: Mark Taylor
Department: Lighting
Job/Role: Rigging Gaffer
Name: Gretel Twombly
Department: Production
Job/Role: Production Supervisor
Name: Marshall Kistner
Department: Production
Job/Role: Production Secretary
Name: Elvis Pasqual
Department: Lighting
Job/Role: Rigging Gaffer
Name: Travis Scott
Department: Sound
Job/Role: Songs
Name: Thomas J. O'Connell
Department: Sound
Job/Role: ADR Mixer
Name: Dominique Elijah Smith
Department: Crew
Job/Role: Stunts
Name: Ross Coscia
Department: Camera
Job/Role: Steadicam Operator
Name: Neil Andrea
Department: Crew
Job/Role: Marine Coordinator
Name: Riley Harper
Department: Crew
Job/Role: Stunts
Name: Justin Zaffiro
Department: Camera
Job/Role: Second Assistant "A" Camera
Name: Jess King
Department: Crew
Job/Role: Stunts
Name: Maurizio Nardi
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Jonathan Clark
Department: Camera
Job/Role: Second Assistant "B" Camera
Name: Hemant Parshuram Sawant
Department: Visual Effects
Job/Role: Digital Compositor
Name: Linda Kessler
Department: Crew
Job/Role: Stunts
Name: Joseph Shirley
Department: Sound
Job/Role: Music Arranger
Name: Lily Scott
Department: Costume & Make-Up
Job/Role: Set Costumer
Name: Aman Juneja
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Aj Mulley
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Tom Callinicos
Department: Costume & Make-Up
Job/Role: On Set Dresser
Name: Yasmin Rogers
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Tony Pilkington
Department: Crew
Job/Role: Mixing Engineer
Name: Greg Harris
Department: Crew
Job/Role: Stunts
Name: Lisa Kisner
Department: Production
Job/Role: Assistant Accountant
Name: Pamela DesVigne
Department: Production
Job/Role: Payroll Accountant
Name: Nolan B. Medrano
Department: Production
Job/Role: Production Accountant
Name: Phillis Lehmer
Department: Art
Job/Role: Graphic Designer
Name: Sarah Lochlan
Department: Crew
Job/Role: Stunts
Name: James Cox
Department: Crew
Job/Role: Stunts
Name: Peter White
Department: Crew
Job/Role: Stunts
Name: Jamie Young
Department: Camera
Job/Role: Dolly Grip
Name: Adam Hammond
Department: Crew
Job/Role: Digital Effects Supervisor
Name: Ola Rydjord
Department: Production
Job/Role: Unit Manager
Name: Alex Kerr
Department: Production
Job/Role: Production Accountant
Name: Katherine Silva
Department: Production
Job/Role: Production Accountant
Name: Vaune Kirby Frechette
Department: Editing
Job/Role: Assistant Editor
Name: Gordon Cave
Department: Crew
Job/Role: Special Effects Technician
Name: Renars Latkovskis
Department: Crew
Job/Role: Stunts
Name: Olivia Jaye Brown
Department: Crew
Job/Role: Stunts
Name: Emily Dominguez
Department: Costume & Make-Up
Job/Role: Set Costumer
Name: Massimiliano Duranti
Department: Costume & Make-Up
Job/Role: Hairstylist
Name: Tom Harper
Department: Crew
Job/Role: Stunts
Name: Jacob Hugghins
Department: Crew
Job/Role: Stunts
Name: Suzanna de Miranda
Department: Production
Job/Role: Production Supervisor
Name: David Elson
Department: Crew
Job/Role: Stunts
Name: Fraser Grant
Department: Production
Job/Role: Production Accountant
Name: Paul Bailey
Department: Crew
Job/Role: Stunts
Name: Stacy Parker
Department: Production
Job/Role: Travel Coordinator
Name: Andrew Gutu
Department: Crew
Job/Role: Set Production Assistant
Name: Zach Henry
Department: Crew
Job/Role: Stunts
Name: Arielle Ness-Cohn
Department: Art
Job/Role: Assistant Art Director
Name: Matt Sherren
Department: Crew
Job/Role: Stunts
Name: Jan Brichcin Jr.
Department: Crew
Job/Role: Stunts
Name: Marek Brichcin
Department: Crew
Job/Role: Stunts
Name: Anna-Liisa Liiver
Department: Art
Job/Role: Set Decoration Buyer
Name: Angel Rivera
Department: Crew
Job/Role: Set Production Assistant
Name: Vinny O'Brien
Department: Crew
Job/Role: Stunts
Name: William R. Mayberry
Department: Lighting
Job/Role: Assistant Chief Lighting Technician
Name: Fred Schuyler
Department: Crew
Job/Role: Set Production Assistant
Name: Doris Tääker
Department: Directing
Job/Role: Additional Second Assistant Director
Name: Tracey Ruggiero
Department: Crew
Job/Role: Stunts
Name: Evelyn Cardoso
Department: Costume & Make-Up
Job/Role: Costume Illustrator
Name: Robert Aguirre
Department: Art
Job/Role: Assistant Art Director
Name: Alicia Triana Tabeau
Department: Directing
Job/Role: Additional Second Assistant Director
Name: Billy Clements
Department: Crew
Job/Role: Stunts
Name: Ray Valerio
Department: Lighting
Job/Role: Rigging Grip
Name: Udayan Baijal
Department: Directing
Job/Role: First Assistant Director
Name: Drew Payne
Department: Production
Job/Role: Unit Manager
Name: Ricky Carrillo
Department: Lighting
Job/Role: Rigging Gaffer
Name: Daniel Castle King
Department: Production
Job/Role: Production Coordinator
Name: Stefano Carbonaro
Department: Art
Job/Role: Leadman
Name: Jorge Hernández
Department: Costume & Make-Up
Job/Role: Ager/Dyer
Name: Charis Theobald
Department: Art
Job/Role: Graphic Designer
Name: Michaela Dvorska
Department: Crew
Job/Role: Stunts
Name: Allie Venrick
Department: Costume & Make-Up
Job/Role: Costumer
Name: Juha Niska
Department: Camera
Job/Role: Best Boy Grip
Name: Jordan Paley
Department: Production
Job/Role: Production Assistant
Name: Daryl Baboulis-Gyscek
Department: Production
Job/Role: Casting Assistant
Name: Anthony Genova
Department: Crew
Job/Role: Stunts
Name: Jameson Buston
Department: Art
Job/Role: Leadman
Name: Pietro Tiberti
Department: Camera
Job/Role: Key Grip
Name: Gary S. Christie
Department: Camera
Job/Role: Best Boy Grip
Name: Hiromi Marder
Department: Production
Job/Role: Payroll Accountant
Name: Kranthi Kumar
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Katherine Henderson
Department: Crew
Job/Role: Set Production Assistant
Name: Rick Miller
Department: Crew
Job/Role: Stunts
Name: Craig Saxby
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Caleb Haydock
Department: Crew
Job/Role: Set Production Assistant
Name: Kevin Shaw
Department: Art
Job/Role: Assistant Property Master
Name: Patrick Zapata
Department: Crew
Job/Role: Set Production Assistant
Name: Michaela Salamounova
Department: Crew
Job/Role: Stunts
Name: Alvar Kõue
Department: Lighting
Job/Role: Rigging Gaffer
Name: Daniele Verdenelli
Department: Lighting
Job/Role: Chief Lighting Technician
Name: Ramon Álvarez
Department: Crew
Job/Role: Stunts
Name: Vaclav Pacal
Department: Crew
Job/Role: Stunts
Name: Mark Patch
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Antonella Ferrari
Department: Visual Effects
Job/Role: Visual Effects Producer
Name: Reetu Aggarwal
Department: Visual Effects
Job/Role: 3D Artist
Name: Jeremy Cahen
Department: Crew
Job/Role: Set Production Assistant
Name: Michael Lieberman
Department: Crew
Job/Role: Stunts
Name: Nicole Domecus
Department: Production
Job/Role: Casting Assistant
Name: Andres Hallik
Department: Editing
Job/Role: Assistant Editor
Name: Angela Ang
Department: Sound
Job/Role: Foley Editor
Name: Kunal Sable
Department: Art
Job/Role: Art Direction
Name: Indrek Jürgenson
Department: Crew
Job/Role: Armorer
Name: Aayushi Dixit
Department: Art
Job/Role: Art Department Assistant
Name: Erin Ochi
Department: Art
Job/Role: Art Department Coordinator
Name: Jessica Labarbera
Department: Art
Job/Role: Assistant Art Director
Name: William Stickley
Department: Art
Job/Role: Construction Manager
Name: Kaspar Sellin
Department: Art
Job/Role: Graphic Designer
Name: Christopher Bomann
Department: Art
Job/Role: Property Master
Name: Erica Facchini
Department: Art
Job/Role: Set Decoration Buyer
Name: Scott Jones
Department: Art
Job/Role: Set Dresser
Name: Adam Kirby
Department: Art
Job/Role: Set Dresser
Name: Ryan Steffen
Department: Art
Job/Role: Set Dresser
Name: Fred M. Ortiz
Department: Art
Job/Role: Set Dresser
Name: Anthony Challenor
Department: Art
Job/Role: Standby Carpenter
Name: Dan Yellowhammer
Department: Art
Job/Role: Standby Carpenter
Name: Volmer Kliimand
Department: Lighting
Job/Role: Assistant Chief Lighting Technician
Name: Javed Ahmed
Department: Camera
Job/Role: Best Boy Grip
Name: Himmat Deol
Department: Camera
Job/Role: Best Boy Grip
Name: Eugene McDonagh
Department: Camera
Job/Role: Best Boy Grip
Name: Chester Milton
Department: Camera
Job/Role: Camera Department Production Assistant
Name: John Reynolds
Department: Camera
Job/Role: Dolly Grip
Name: Alessandro Renga
Department: Crew
Job/Role: Generator Operator
Name: Kamlesh Sadrani
Department: Lighting
Job/Role: Rigging Gaffer
Name: Cody Corl
Department: Lighting
Job/Role: Rigging Grip
Name: Andrew Gomez
Department: Lighting
Job/Role: Rigging Grip
Name: Shane Brady
Department: Lighting
Job/Role: Standby Rigger
Name: Phillip Eastwood
Department: Lighting
Job/Role: Standby Rigger
Name: Swinthin Francis
Department: Costume & Make-Up
Job/Role: Hairstylist
Name: Evelyn Feliciano
Department: Costume & Make-Up
Job/Role: Hairstylist
Name: Derrick Spruill
Department: Costume & Make-Up
Job/Role: Key Hair Stylist
Name: Renee Caruso-Napolitano
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Toni Bisset
Department: Costume & Make-Up
Job/Role: Special Effects Makeup Artist
Name: Lily Beren
Department: Production
Job/Role: Casting Assistant
Name: Heli Jürisson
Department: Production
Job/Role: Extras Casting Coordinator
Name: Guillermo Estrada
Department: Costume & Make-Up
Job/Role: Costume Illustrator
Name: Oksana Nedavniaya
Department: Costume & Make-Up
Job/Role: Costume Illustrator
Name: Alan Beumer
Department: Costume & Make-Up
Job/Role: Costumer
Name: Barbara Brady
Department: Costume & Make-Up
Job/Role: Costumer
Name: Elise Drozdowski
Department: Costume & Make-Up
Job/Role: Costumer
Name: Meg Freeman
Department: Costume & Make-Up
Job/Role: Costumer
Name: Joanna Mills
Department: Costume & Make-Up
Job/Role: Costumer
Name: Matthew Payne
Department: Costume & Make-Up
Job/Role: Costumer
Name: Tuule Soosaar
Department: Costume & Make-Up
Job/Role: Tailor
Name: Alexander Biehn
Department: Production
Job/Role: Location Coordinator
Name: Marzia Coltellacci
Department: Production
Job/Role: Location Coordinator
Name: Amanda Stevens
Department: Production
Job/Role: Location Manager
Name: David Lee
Department: Crew
Job/Role: Digital Effects Supervisor
Name: Nicola Ernst
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Issy Haylett
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Toji Mathew Joseph
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Jay Mariyappan
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Adeline Pizzato
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Subin Sawai
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Faizah Sayed
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Meghna Shetty
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Olivia Starr
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Alankit Thapa
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Vishal Vyas
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: Leana Mae Felipe
Department: Visual Effects
Job/Role: Visual Effects Coordinator
Name: James Lu
Department: Crew
Job/Role: Visual Effects Editor
Name: Harry Hamblin
Department: Crew
Job/Role: Visual Effects Editor
Name: Jude Joneph
Department: Crew
Job/Role: Visual Effects Editor
Name: Katariina Braun
Department: Crew
Job/Role: Stunts
Name: Brona Chaloupkova
Department: Crew
Job/Role: Stunts
Name: Cara Marie Chooljian
Department: Crew
Job/Role: Stunts
Name: Jan Gabriel
Department: Crew
Job/Role: Stunts
Name: Khrystyna Hul
Department: Crew
Job/Role: Stunts
Name: Kaja Kann
Department: Crew
Job/Role: Stunts
Name: Alex Kingi
Department: Crew
Job/Role: Stunts
Name: Imogen Leaver
Department: Crew
Job/Role: Stunts
Name: Jessica Whitney Macauley
Department: Crew
Job/Role: Stunts
Name: Petr Myslik
Department: Crew
Job/Role: Stunts
Name: Vanessa Rael
Department: Crew
Job/Role: Stunt Coordinator
Name: Martin Semerád
Department: Crew
Job/Role: Stunts
Name: Marek Simbersky
Department: Crew
Job/Role: Stunts
Name: William R. Spencer
Department: Crew
Job/Role: Stunts
Name: Martin Spur
Department: Crew
Job/Role: Stunts
Name: Patrik Surowka
Department: Crew
Job/Role: Stunts
Name: Kreete Tarmo
Department: Crew
Job/Role: Stunts
Name: Daniel Thomas Kyburz
Department: Production
Job/Role: Unit Manager
Name: Renato Latella
Department: Production
Job/Role: Unit Manager
Name: Benjamin Löbbert
Department: Production
Job/Role: Unit Manager
Name: Dushyant Singh Rathore
Department: Production
Job/Role: Production Manager
Name: Bjarke Toft
Department: Production
Job/Role: Production Manager
Name: Jeff Berlin
Department: Crew
Job/Role: Mixing Engineer
Name: Romek Delimata
Department: Art
Job/Role: Concept Artist
Name: Colin Galloway
Department: Production
Job/Role: Production Accountant
Name: Stacie Motobo
Department: Production
Job/Role: First Assistant Accountant
Name: Akane Kashiwazaki
Department: Production
Job/Role: Assistant Accountant
Name: Sarai Morales
Department: Production
Job/Role: Assistant Accountant
Name: Lilli Hill
Department: Production
Job/Role: Assistant Accountant
Name: Elizabeth Kerr
Department: Production
Job/Role: Payroll Accountant
Name: Andrew Catania
Department: Production
Job/Role: Production Coordinator
Name: Steph Hamilton-Jordan
Department: Production
Job/Role: Travel Coordinator
Name: Chelsea Barker
Department: Crew
Job/Role: Set Production Assistant
Name: Leslie Bellows
Department: Crew
Job/Role: Set Production Assistant
Name: Keiran Kerwin
Department: Crew
Job/Role: Set Production Assistant
Name: Leonela Alberto
Department: Crew
Job/Role: Set Production Assistant
Name: Tamara Bunker
Department: Crew
Job/Role: Set Production Assistant
Name: Eduardo Medina
Department: Crew
Job/Role: Set Production Assistant
Name: Chris Rosenblum
Department: Crew
Job/Role: Set Production Assistant
Name: Brian Beverly
Department: Camera
Job/Role: Grip
Name: Greg Mazzola
Department: Camera
Job/Role: Grip
Name: Andrew Williams
Department: Camera
Job/Role: Grip
Name: Phil Sperry
Department: Camera
Job/Role: Grip
Name: Jose Reyes
Department: Camera
Job/Role: Grip
Name: Bob Slater
Department: Crew
Job/Role: Special Effects Technician
Name: Vincent Vanillo
Department: Crew
Job/Role: Special Effects Technician
Name: Phillip Wheatley
Department: Crew
Job/Role: Special Effects Technician
Name: Louis Lindwall
Department: Crew
Job/Role: Special Effects Technician
Name: John Delaney Sr.
Department: Crew
Job/Role: Special Effects Technician
Name: Sara Skerritt
Department: Visual Effects
Job/Role: Visual Effects Production Assistant
Name: Darren Holvey
Department: Crew
Job/Role: Transportation Captain
Name: Beatle Van Graan
Department: Crew
Job/Role: Transportation Captain
Name: Jeffrey Stevens
Department: Crew
Job/Role: Set Medic
Name: Michael Nerone
Department: Crew
Job/Role: Set Medic
Name: Alina Dicu
Department: Crew
Job/Role: Craft Service
Name: Sairh Sheikh
Department: Production
Job/Role: First Assistant Accountant
Name: Paresh Behera
Department: Production
Job/Role: Production Accountant
Name: Ekaterina Petrounina
Department: Production
Job/Role: Production Coordinator
Name: Sonm Raai
Department: Production
Job/Role: Production Coordinator
Name: Ben Kozel
Department: Production
Job/Role: Production Coordinator
Name: Ane Stubberud
Department: Production
Job/Role: Production Coordinator
Name: Sofia Guiotto
Department: Production
Job/Role: Production Coordinator
Name: Claus Elgaard Carlsen
Department: Production
Job/Role: Production Accountant
Name: Annely Lepamaa
Department: Production
Job/Role: Payroll Accountant
Name: Rahul Verma
Department: Visual Effects
Job/Role: Digital Compositor
Name: Kieran Kerwin
Department: Production
Job/Role: Production Assistant
Name: Sharan
Department: Production
Job/Role: Production Assistant
Name: Carol Alice Tõniste
Department: Production
Job/Role: Production Assistant
Name: Jamie Hearing
Department: Visual Effects
Job/Role: VFX Artist
Name: Maria Kljukina
Department: Directing
Job/Role: Third Assistant Director
Name: Aki Laulajainen
Department: Camera
Job/Role: Grip
Name: Martin Tennokene
Department: Camera
Job/Role: Grip
Name: Matilde Matvere
Department: Directing
Job/Role: Third Assistant Director
Name: Ilona Faustova
Department: Directing
Job/Role: Third Assistant Director
Name: Kaia Pihlak
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Sarower Reza Jimi
Department: Production
Job/Role: Production Assistant
Name: Jaak Sova
Department: Art
Job/Role: Set Dresser
Name: Jennifer Õun
Department: Costume & Make-Up
Job/Role: Makeup Artist
Name: Karl Agapuu
Department: Art
Job/Role: Set Dresser
Name: Kelly Väli
Department: Directing
Job/Role: Third Assistant Director
Name: Kasper Raidam
Department: Lighting
Job/Role: Lighting Technician
Name: Allar Sild
Department: Art
Job/Role: Set Dresser
Reviews Section
I fully understand that Christopher Nolan is trying to play with time, as that what's the movie's about - and yes, he is known for confusing movies - but here, Nolan has made something uninteresting. The idea of things going backwards is cool, but the rules are unclear. We never know what the basic goal is - I could understand secrets, but the film has to be interesting and 'Tenet' simply isn't. Nothing here makes me want to work things out; it's forgettable. Sure, you can say this has to be seen on the big screen, but the long runtime makes it unappealing to most mainstream audiences. Unfortunately, 'Tenet' is not here to save the 2020 box office. I work at a cinema, and to say it underperformed well would be correct. We are going to see more 'Tenet' hot-take YouTube videos than thinkpiece/what you missed ones. Christopher Nolan has made his most forgettable film to date - it's not a bad movie and I'm sure his diehard fans will adore this one, but for everyone else, there isn't much here. 'Tenet' won't be remembered as another “groundbreaking visual spectacle“ from Nolan or for “saving cinema“. It will be remembered for its weird release schedule and having been shown during a global pandemic, and that's unfortunate. Like the rest of the year, 'Tenet' is a write-off. Read Chris' full article... https://www.maketheswitch.com.au/article/review-tenet-time-runs-up-like-my-enjoyment-of-nolans-latest-film
If you enjoy reading my Spoiler-Free reviews, please follow my blog @ https://www.msbreviews.com Christopher Nolan has delivered some of my favorite movies of the century. All the way from Memento to the most recent Dunkirk, I've yet to dislike one of his films, so expectations are always high with him. The current global pandemic closed movie theaters worldwide, but fortunately, some countries already opened them, including my own. My IMAX screening of Tenet was my first trip to a theater since February! As a firm believer and strong advocate of the so-called "cinematic experience", I would always remember fondly the day I returned to a place I hold very close to my heart independently of my opinion about the film. Nevertheless, it became an even more special day once I left that enormous screen behind with a happy face. Nowadays, people complain about everything, especially on social media. So, I'm not surprised that the "savior of cinema" marketing tagline triggered so many souls. If Nolan didn't have enough haters, it surely got a few more after this campaign. Me? I look at it like any other marketing scheme: it's intended to hype its own movie, so I don't really understand why this specific publicity caused so much controversy. Obviously, "savior of cinema" doesn't mean Nolan is going to save theaters from dying. It's just a tagline trying to hype the first major blockbuster in several months! It's a marketing strategy to try and convince people to give Tenet a go. If there's a film meant to be seen at the biggest screen possible, this is the one. I'll get the outstanding technical achievements out of the way. Inception and Interstellar boast impressive visuals that are hard to compete with, but Tenet is up to the challenge. With uniquely complex, stunning, grand set pieces, Nolan delivers riveting action based on a mind-blowing temporal concept that will make every single viewer scratch their heads. I lost count to the number of times I tried to open my eyes more so I could see (and understand) everything that was going on. Hoyte van Hoytema's cinematography is handheld for a lot of action sequences, and he has such control over his craft that he was able to capture some of the most jaw-dropping action moments of the last few years through gorgeous angles and a firm grip. Nolan said that Tenet would be "the hardest movie to cut" for any editor. Jennifer Lame's editing plays a vital role in the time inversion sequences. It's relatively easy to imagine how brutal of a task she must have had. She's incredibly consistent throughout the runtime with perfectly timed cuts that elevate even the simplest of scenes. I wish I could be more specific, but in order to avoid spoilers, I'll just write this: she has a bunch of nominations coming her way, including an Academy Award. Ludwig Göransson's score is tremendously powerful, and it definitely adds to the magnificent action set pieces, especially in the third act. Finally, Nathan Crowley (production designer) creates such a realistic look that it almost made me believe this could actually occur in the real world. CGI has come a long way, and it's indisputably a tool that can completely transform films into something fascinating when used correctly. However, practical effects will always offer a feeling impossible to replicate through computerized images. It's probably the aspect I appreciate the most about this movie: its massive application of practical effects and real stunts. It surrounds the physics-defying premise within a bubble of realism, and that's only achieved with talented people in the right technical departments. Story-wise... this is where it gets tricky. I have to be honest about my experience: I found it surprisingly okay to follow and not that challenging to understand. This doesn't mean that it isn't a remarkably complex, layered narrative with ideas that will be incredibly hard for some people to comprehend. I'm not trying to patronize anyone, far from that, but some viewers will inevitably leave the theater without completely understanding what they just saw, simply because it's a two-hour-and-a-half movie packed with heavy exposition about a fictional quantum physics concept. For example, in the same way that some people genuinely can't have a 3D perspective, other people will also have visual difficulties in distinguishing the inverted sequences. The need to be vague about plot details doesn't let me explain a lot, but the unique concept Nolan develops in Tenet is undoubtedly an exceptionally intriguing idea. As crazy as it might sound, I found the visuals more confusing than the actual scientific explanations that they go with. Unfortunately, that's one of my main issues with the film. Throughout the entire runtime, there's an excessive load of exposition about the time shenanigans. It's a massive amount of information for anyone to be able to remember every single detail. Even worse, some dialogue sequences feel so incredibly forced that it's almost like the movie stops for quick breaks where the characters explain something directly to the audience. This last point leads me to another problem. John David Washington gets better and better as time goes by, but he feels like a mediator between the film and the audience for the first half of the movie. His dialogue revolves around asking questions about what's happening and how the time inversion works, which is obviously understandable given the character's circumstances, but the execution of these conversations lacks that spontaneous vibe. It really feels like someone yelled "Action!", the actors did their lines, and that same someone yelled "Cut!". Washington isn't exactly a worldwide, well-known actor (Ballers, BlackKklansman), and this is his first big blockbuster appearance, so his inexperience didn't help him through these moments. However, he ends up being a fine protagonist (no pun intended). Robert Pattinson is charming and quite funny, actually. I couldn't avoid the "humorless" review headlines, and being totally honest, it's surprisingly a lot funnier than I thought it would (not) be. His character has a vital role in the whole story, and it's through him that most of the knowledge about the intricate concept at hand is developed. Elizabeth Debicki is probably the spotlight stealer, though. With a remarkable performance, she represents the emotional arc of the film, and she delivers one of her best interpretations ever. I was afraid that her storyline would turn into a forced romance, but fortunately, it only helped build Washington's character traits. On the other hand, Kenneth Branagh plays a cliche Russian bad guy with generic motivations who feels way too formulaic for such a ground-breaking movie. But ultimately, that's what Nolan presents. His astonishingly talented methods as a director and his obsession with detail as a writer make Tenet a certainly flawed yet phenomenal film with a concept that might be the hardest he's ever had to pull off. As long as people can remove themselves from the real world and enter a whole new one with entirely different mechanisms and rules, it will be the so-called "blockbuster of the summer" that everyone deserves this year. All in all, Tenet undoubtedly boasts an incredibly complex narrative with a unique temporal concept impressively demonstrated through spectacular, loud, jaw-dropping, practical action set pieces. Christopher Nolan is a masterful director and a fascinating writer, but he has to thank its technical crew for creating such a visually stunning blockbuster. From Hoyte van Hoytema's riveting camera work to Jennifer Lame's seamless editing, passing through Ludwig Göransson's powerful score and Nathan Crowley's beautiful production design, Tenet is one of the most technically mind-blowing movies of the last few years. With the help of a remarkable cast (especially Debicki and Pattinson), the definitely intriguing story makes the epic runtime feel a bit shorter, despite some scenes being unnecessary. The heavy and forced exposition throughout the entire film transforms an otherwise entertaining flick into a fictional physics class that will confuse thousands of viewers. It also doesn't help to have a generic MacGuffin and a formulaic villain at the core of such an unconventional movie. In the end, Nolan isn't the "savior of cinema" (no one will be), but he certainly delivers the blockbuster everyone's been waiting for since the beginning of the year. As long as people are able to accept and enter his new world, Tenet will be received as one of the best films of 2020. Rating: A-
There is a moment midway through this film where you can suddenly feel everything clicking into place. Up until this point, the film has been entertaining, with some great set pieces and a scope that is trademark Nolan, but the central hook of the film - “time inversion” - has felt almost superfluous to the plot, albeit a clever visual conceit that gives the film a different vibe to your average spy thriller. But then comes the “moment” - a simple act of crossing a threshold - where suddenly you realise how the visual conceit is going to figure into the rest of the film and also how most of the first hour has been pure setup for what is to follow. It’s the kind of twist that isn’t really a twist at all as it is a visual explanation that the film has really been waiting for. Nolan has taken quite a gamble in delaying this “moment” for so long and there is always the feeling the film is hiding elements of the plot in the first half. This means the explanation may have come too late for some to invest in the film fully, but if you are still with it, there is a sudden feeling of exhilaration of knowing to an extent some of what is about to follow and the film lets loose with some fantastic set pieces that are hugely satisfying if you have been paying attention. Performances are great, with Branagh in full scenery chewing mode and the score is suitably Zimmeresque and loud. It doesn’t quite hit the highs of its closest cousin - Inception - but it’s scope is similarly impressive and it’s going to lead to plenty of theories and explanations in order to follow each major character’s journey through the film. Great stuff in the end, but it was touch and go there for a while.
I was recently asked if this was better or worse than Inception. Personally, I don’t think you can compare any of his films outside the fact that he made them. Like those made by Tarantino, each film is its own living masterpiece ... If you are a fan of Nolan, this is a must see!
**_An aesthetic showcase that's completely uninterested in human beings (and for the love of God, what does Christopher Nolan have against decent sound mixing?)_** > S A T O R > > A R E P O > > T E N E T > > O P E R A > > R O T A S - Sator square (date unknown) >_The laws of science do not distinguish between the past and the future. More precisely, the laws of science are unchanged under the combination of operations (or symmetries) known as C, P, and T (C means changing particles for antiparticles. P means taking the mirror image, so left and right are interchanged. And T means reversing the direction of motion of all particles: in effect, running the motion backward). The laws of science that govern the behaviour of matter under all normal situations are unchanged under the combination of the two operations C and P on their own. In other words, life would be just the same for the inhabitants of another planet who were both mirror images of us and who were made of antimatter, rather than matter._ >_If the laws of science are unchanged by the combination of operations C and P, and also by the combination C, P, and T, they must also be unchanged under the operation T alone. Yet there is a big difference between the forward and backward directions of real time in ordinary life. Imagine a cup of water falling off a table and breaking into pieces on the floor. If you take a film of this, you can easily tell whether it is being run forward or backward. If you run it backward you will see the pieces suddenly gather themselves together off the floor and jump back to form a whole cup on the table. You can tell that the film is being run backward because this kind of behaviour is never observed in ordinary life._ >_The explanation that is usually given as to why we don't see broken cups gathering themselves together off the floor and jumping back onto the table is that it is forbidden by the second law of thermodynamics. This says that in any closed system, disorder, or entropy, always increases with time. In other words, it is a form of Murphy's law: things always tend to go wrong! An intact cup on the table is a state of high order, but a broken cup on the floor is a disordered state. One can go readily from the cup on the table in the past to the broken cup on the floor in the future, but not the other way round._ - Stephen Hawking; _A Brief History of Time: From the Big Bang to Black Holes_ (1988) > _Imagine you and a friend decide to go to Pisa, with one of you standing atop the famous leaning tower and the other located down at the bottom. From the top, whoever throws a ball off the edge can easily predict where it will land down on the bottom. Yet if the person at the bottom were to throw the ball upwards with an equal-and-opposite velocity to the ball that just landed, it would arrive exactly at the location where the person at the top threw their ball from._ > _This is a situation where time-reversal invariance holds: where the T-symmetry is unbroken. Time reversal can be thought of the same way as motion reversal: if the rules are the same whether you run the clock forwards or backwards, there's true T-symmetry. But if the rules are different when the clock runs backwards from when the clock runs forwards, the T-symmetry must be broken._ - Ethan Siegel; "No, The Laws Of Physics Are Not The Same Forwards And Backwards In Time"; _Forbes_ (July 5, 2019) Watching _Tenet_, the latest film from writer/producer/director Christopher Nolan (_Memento_; _Inception_; _Interstellar_), I was reminded of an apocryphal story about NASA – during the space race, in an attempt to tackle the problem of how to write in zero gravity, NASA poured millions into developing the Fisher Space Pen, whereas the Russians simply gave their cosmonauts pencils. And it seems to me watching this overblown mess of a film that Nolan has become so fixated on the grandiosity of the pen that he has completely overlooked the humble pencil. More so than any of his previous work, _Tenet_ is focused on mixing philosophy and real(ish) science with over-the-top mainstream entertainment to such an extent that he ignores such basic narrative principles as character arcs, empathy, motivation, and interiority. Now, don't get me wrong, I love filmic experimentation (two of my favourite directors are Terrence Malick and David Lynch), but _Tenet_ isn't an especially experimental film – it's a humourless and badly written shambles, convinced of its own portentousness, and created by a man who has achieved such popularity that it seems no one in his circle is willing to tell him when something is a bad idea. Spending almost ten years working on the story, and five writing the script, in Tenet, Nolan is yet again examining the vagaries of time. It's a theme that's front and centre in _Memento_ (2000), _Inception_ (2010), _Interstellar_ (2014), and _Dunkirk_ (2017), and to a lesser extent in _Following_ (1998) and _The Prestige_ (2006) (I haven't seen any of his _Dark Knight_ trilogy so I can't attest to their thematic concerns, and we shall not speak of his remake of _Insomnia_). It's undeniably fascinating to see a tent pole Hollywood production engaging with issues such as entropy, thermodynamics, reversibility and irreversibility, time's arrow, the grandfather paradox, and T-symmetry, all the while keeping proceedings housed firmly within the spy genre (it's a Bond movie in all but name). Indeed, one of the film's central questions is especially noteworthy – if what and who we remember from our past defines who we are in our present, do things that haven't happened to us yet also speak to our identity? Do our future actions determine who we are as much as our past actions? It's a fascinating question. And one with which Nolan does precisely nothing. However, the film's main problems aren't related to the squandered existential potential, the much-ballyhooed complexity, the puzzle-like structure, the philosophical musing, or the thematic similarity to Nolan's previous work. Rather, they are more fundamental, existing almost entirely at a structural level (although some of the performances don't help matters, nor does the abysmal sound mixing). The film looks incredible, the practical effects in the action scenes are extraordinarily mounted, the cinematography is stunning, and the editing is superb, but there simply isn't anything of note under the shiny veneer. It's a film with virtually no interest in human beings. The premise of _Tenet_ is straightforward in outline. The film opens as a CIA operative known only as The Protagonist (John David Washington) infiltrates a team of bad guys looking to find a spy at the Kiev Opera House. He finds the man before they do, but during their escape, he sees something which should be impossible – a bullet seems to travel backwards in space and a bullet hole is "un-shot", as if time is reversed for that bullet, even though everything else is moving normally. The Protagonist is able to smuggle the spy outside, but their escape goes awry, and to avoid being captured, he swallows a cyanide tablet. Rather than dying, however, he awakens to be told that he has passed the test to join an ultra-secret international espionage squad known as Tenet. His mission is fairly simply – at some point in the future, someone has figured out how to reverse the entropy of objects, effectively being able to send them back along the timeline without having to reverse time itself. The implications of this are catastrophic and have set humanity on course for World War III, and probable extinction, unless The Protagonist can figure out who is doing it and put a stop to their machinations. Along the way, he makes the acquaintance of Neil (Robert Pattinson), his infinitely better-informed handler; Andrei Sator (a spectacularly miscast Kenneth Branagh giving new meaning to clichéd villainy), a dangerous Russian oligarch; Kat Barton (Elizabeth Debicki), Andrei's oppressed and deeply unhappy trophy wife; Priya (Dimple Kapadia), an arms dealer; Ives (Aaron Taylor-Johnson), a Tenet soldier; Michael Crosby (Michael Caine), a British intelligence bigwig; and Barbara (Clémence Poésy), a scientist specialising in all things temporal. _Tenet_ is an event movie in every way; this 150-minute, $200m+ original idea (when was the last time a non-franchise, non-comic book original movie got that kind of budget) is a massive studio tent pole written and directed by the most popular filmmaker alive. And I will say this. The budget is on the screen. Oftentimes, you'll see a movie that's cost a ridiculous amount and you'll sit there thinking, "they must have spent a lot on catering." With _Tenet_, however, it's all there, front and centre. No small amount of that money, of course, must have gone on the practical effects (incredibly, the film has only 280 vfx shots) – whether it be our heroes bungie-jumping onto the side of a building, a close-quarters fight where one of the combatants moves in reverse, a Boeing 747 jet crashing into a building (which was shot for real), a highway chase where some of the cars are going forward in time and others are going backwards, or an all-out battle scene where, again, some of the soldiers travel forward whilst others move in reverse. Even Ludwig Göransson's score gets in on the act, employing only melodies which sound the same whether played backwards or forwards. As cinematic spectacle goes (on a purely visual level), I've never quite seen anything like it. It's one of those films where you'll genuinely be asking yourself, "how the hell did they do that?"; a question that's become increasingly rare in our CGI-reliant times. Tenet looks like it was an exceptionally difficult movie to make. Along the same lines, the cinematography by the great Hoyte van Hoytema (_The Fighter_; _Spectre_; _Ad Astra_) is stunning, with van Hoytema mixing 15-perf 70mm IMAX film (shot at 1.43:1; projected at 1.90:1) with traditional 70mm stock (2.20:1) and a few 35mm sequences in a manner where the shifts in aspect ratio are barely noticeable (although I saw it on an IMAX screen; aspects shifts would be more obvious on a smaller screen). It's the kind of film that could only exist in the medium of cinema – no other artform could even begin to approximate its aesthetic design and splendour, and I admire that a great deal. A celluloid purist, Nolan has always made a big stink about the artistic importance of cinema, and _Tenet_ finds him pushing the aesthetic boundaries of what the artform can accomplish, foregrounding innovation in ways that big budget mainstream studio productions simply don't, and celebrating the possibilities it affords those with sufficient enough imagination. Unfortunately, no matter how visually unique or aesthetically impressive it may be, no amount of gloss can hide the fact that the screenplay is a turgid mess and suffers from some fundamental problems – most notably, it's bereft of emotion and populated with cardboard cut-outs that are supposed to be characters. The problems start early when The Protagonist is told that the future of humanity depends on his mission. This is precisely when I started to tune out. Any film that declares its story is none-other than saving humanity has gone so big as to render the people who populate its narrative as insignificant. It's also a cliché, it's dull as dishwater, and we've seen it done a million-and-one-times. The idea of saving all mankind simply doesn't pack any kind of emotional punch any more, far better to stay smaller and focus on character. Which brings me to those characters. Good lord, they're badly written. The Protagonist isn't a person with an interiority; he's a cipher, the audience's surrogate so that Nolan can explain the plot to us. But there's nothing more to him – he's utterly emotionless, seemingly void of any kind of relatable motivation, has no psychological through line, and nothing even resembling a character arc. I'm not a huge fan of Washington in general, who I feel has played every part in the same sombre, disinterested manner, so there could be some prejudice at work, but I am a huge fan of Branagh, and he's even worse. Think of the most clichéd Russian villain you've ever seen. Now square that and you'll be some way towards imagining how ludicrous Sator is. He isn't a person – he's a collection of near-satirical tics, clichés, and elements from other, better films. Maybe with a more menacing actor in the role it might have worked, but all I could think whenever he was on screen was "that accent is hilarious." Pattinson's Neil and Debicki's Kat fair better, but neither set the screen alight. Along the same lines, much of the second half of the film hinges on the fact that The Protagonist and Kat find themselves drawn to one another, yet Washington and Debicki have zero chemistry. At a human level, there's nothing to take a hold of the audience, nothing to make us care about any of these people; they're gears in the machinery of Nolan's plot. Speaking of Kat, a common criticism of Nolan's filmography as a whole is that his female characters tend to be victims whose deaths motivate men or who need saving by men, and/or women who define themselves almost entirely in terms of their relationship to men. Now, I'm not saying that Nolan is _obliged_ to write more rounded female characters. He isn't. Much like one of his favourite filmmakers, Michael Mann, Nolan's films are androcentric. And there's nothing wrong with that. However, in Mann, there are to be found strong female characters with considerable agency, whereas in _Tenet_, Kat is nothing more than a pawn in a game played by powerful men who effortlessly control her. She defines herself almost entirely in terms of her role as a self-sacrificing mother, and whilst this is an interesting trait the first couple of times it comes up, by the time Nolan is reminding us of how much she has sacrificed for the 237th time, it had become obvious that this was going to be the extent of her characterisation. At one point early in the film, Barbara tells The Protagonist, "_don't try to understand it, just feel it_", which is advice that Nolan is also offering to his audience. The problem is that there's nothing to feel. _Tenet_ is a puzzle, the impenetrability of which will depend on each individual viewer (and how much of the appallingly poorly-mixed dialogue you can make out), but unlike _Memento_ (which remains Nolan's best by a long way), which packed a seriously emotional gut-punch when we finally learn what was at the heart of the puzzle, _Tenet_ offers us nothing more than the task of deciphering it for its own sake. There's a twist towards the end that I literally saw coming from about 10 minutes in, but aside from that, there's no payoff. There's nothing to make us want to penetrate a story that seems more intent on reminding us how clever it is instead of trying to depict real people or establish real emotional stakes; it's a film more enamoured by the complexity of its own design than by any of the people contained within. It's an emotional void – all technical virtuosity and surface sheen with next to nothing at its core.
I believe Tenet is very underrated. This movie is just too good! The soundtrack, the action, the plot, the acting, the cinematography, and the fact that CGI wasn't really involved much! Yet it was indeed challenging to understand. However, after watching Dark, I didn't face much difficulty in understanding the plot, as both have a lot in common. Nolan's movies aren't there to satisfy you, they are more of something to be felt. I loved Tenet as much as I loved his other movies...
Been a fan of Christopher Nolan's films but this one didn't quite do it for me. One, confusing story that was hard to follow at times (I got the gist), but beyond that, wasn't terribly entertained. Acting was shaky, Pattison was fine but really disappointed with John David Washington, though he's not helped by cliched dialogue. IDK, didn't hate it at all and maybe will revisit it one day, but this is easily Nolan's weakest film to date. **3.0/5**
I’m a bit annoyed I couldn’t understand the first twenty minutes because of the bombastic bass and a bit underwhelmed by the lack of an emotional arc, but all things considered, Tenet is an epic, mind-blowing James Bond film masquerading as a Christopher Nolan film.
Nolan's latest movie is one of his worst. An exaggerated film whose only purpose is to complicate the viewer, but I wish he could do it with cinema. These ambiguities are created only by the chaotic and crowded montage and a series of theoretical dialogues, and no cinema is seen in it. Also, we do not see any coherent story during the film and the events of the film do not form a script at all. There is no characterization in the film, the protagonist character is not made at all and is not believable, also the other characters are completely caricatured and extra, also during the film and its artificial communication, not a bit of feeling is created. Aside from the fact that the film does not even come close to form, it is also very beginner in terms of technique, excessive cuts, and sometimes weird and inappropriate! The opening and closing sequences of the film are highly artificial, and the final sequence is saturated with a large number of cuts, aerial shots and rudimentary special effects. The only slight positive aspect of the film is its acting, and the acting of the antagonist character is defensible. In general, the film is considered to be a very bad and weak film, which is like a puzzle without a pattern, meaning that after putting the white pieces together, which is not a difficult task, it has nothing to offer.
man, oooh maaann
everything bumps into each other.F*ck. yes, another time sh*t by Nolan. people seem to hate or despute it, but I am enjoyed the film. the inverted fight, so much to hit my brain. u might call me Nolan's b*tch but i am. idc. this shit is liiiitttttt 🔥🔥🔥. Also: Washington, Pattinson, and Debicki are sexy af. Goransson is good. He did an amazing job. After what he did for The Mandalorian, I'm excited what a sound he would build. What a tone is it. But I wished Zimmer would do that. But yeah there are some other things that failed. The dialogues is hard to hear because of the massive soundtracks. How this film has no emotional core. Yes it's just big spectacle to aroused the hornyness for the (time) plot. Understandable. I loved it (for the sake of new "time" plot from Nolan). Cheers mate 🍻 ✌🏽
time runs out
It was a long time since I watched a new blockbuster movie and, mostly for personal reasons, even longer since I actually reviewed a movie, blockbuster or not. I guess this movie is not the most simple one to pick to get my reviews/blogging back on track but there’s not that much new movies to chose from this year with the pandemic and all. I have to say that I approached this movie with some hesitation and perhaps with an assumption that I wouldn’t like it since I have an aversion towards time travel in movies and books. It is more often than not that the author gets it more or less spectacularly wrong and it turns into a mess. Well, I have to say that, in my mind, this movie was a bit of a mess. I felt confused and found it difficult to follow the various twists more than once. Also, at least in the beginning, the parts about bullets jumping up in your hand instead of falling out because the bullets where travelling backwards in time sounded somewhat unbelievable to me. I can accept something travelling backwards in time but for such a bullet to jump up into someone’s hand, seemingly on command, no I do not think that’s very believable at all. Once I had watched the entire movie to the end, then finally, some of the first parts started to make sense. Personally I don’t like that I spend a large part of the movie wondering what the f… even if it (mostly) becomes clear towards the end. However, I have to say, it was a quite cool mess. First of all, I quite like the main protagonist. Whether he’s traveling forwards or backwards he kicks ass and he’s intelligent. He is very much a James Bond type of character which I like. There’s also a shitload of action in this movie and it is both well done as well as cool. Of course, with the budget this movie had I would really be disappointed if there wasn’t good special effects in it. However, one thing that made the effects and action to stand out in this movie compared was this concept that for some people, and objects as well, time moved backwards. Watching some of the larger scenes where some explosions where actually explosions and some where implosions. Cars moving both forwards and backwards in car chases etc. etc. I have opinions about the plausibility of that but it looked cool at least. For me the enjoyment of this movie was the main protagonist which I liked and the cool action. The story itself and its rather convoluted (but original I have to say that) time travel concept, well I’m not sure I was (am) too trilled about that except for the fact that it allowed these rather original special effects.
Appreciated this film more than any Nolan film since The Dark Knight. Usually his films aim for high concept but get weighed down by syrupy schmaltz. This one ditches his unconvincing attempts at emotional/philosophical depth and just focuses on the very creative core concept of inverted time. There's no labored soliloquies about the power of love, no epic aspirations of cultural poignancy - it's mainly just a bunch of exposition interspersed between some truly breathtaking visual and audio spectacle like nothing else. Nolan is an artist first and foremost. His films always have a level of craft that is beyond comprehension for mere mortals like me. And in this one he turns that up to eleven. Honestly, I actually enjoyed the challenging sound design. It reminded me of the film Primer (another time bending mind melter) where the discussions about complicated ideas are drowned out by background noise and music because he knows we won't understand and it's not important anyway. What is important is that we "feel it" (as is literally said). Don't try to figure it out. Just enjoy that an arthouse abstractionist who somehow gets 100+ million dollar budgets to make quirky stories with set pieces that will blow your mind.
‘Tenet’ is clearly Nolan's most ambitious project to date, but the highly packed and complex plot make it difficult to fully enjoy the movies mindblowing rules of time-inversion within a single view. 8/10
‘Tenet’ is clearly Nolan's most ambitious project to date, featuring action scenes we never saw before and with a magnificent score by Göransson. The highly packed and complex plot make it difficult to fully enjoy the movies mind-blowing rules of time-inversion within a single view, but the interesting physics and temporal consequences leave you pondering until long after the credits, in which the movie grows on you, making multiple watches irresistible. 10/10
Tenet on paper is a super interesting that I think I would have a great time with, but the execution fell flat on its face. The entire plot is so purposefully convoluted that it is really hard to follow. Christopher Nolan whips from one scene to another so fast to cram as much exposition in that so many moments just got right over the audience's head. Half the scenes are just exposition dumps with audio so poorly done that you have to read the subtitles the entire time to even understand what they're saying. The acting is all fine in this movie, but I spent so much time trying to understand the film that any mishaps could have gone right over my head. The only redeeming aspect of this film is the fights and heists. These scenes were filmed with incredible precision that really showed off the scope that the protagonist was trying to accomplish. I had a good time with that, but that was few and far between. **Verdict:** _Poor_
Christopher Nolan is a crazy and insane person. There is no dispute about this. What Nolan is trying to convey to the viewers is an adventure that is difficult to imagine on your own. It is also difficult to imagine its events and facts. It is also difficult to photograph many moments. Fear that my mind will be distracted by this wonderful drama. The story of the film is about the attempt of some people to stop the end of the world. This person is known in this film as the Protagonist, as he does not know anything about the mission or how to end the world except for one word, which is Tenet, and the meaning of this word will appear through the events of the film, but frankly, the aesthetic of talking about this film lies In penetrating the events and talking comfortably about the events of the movie. The photography was aesthetic with things that neither the mind nor the eye could have expected while you were sitting in front of the screen. The photographic ability in this film exceeded many stages and reached a stage of dazzling. It exceeded the choice of angles or even the duration of the shot. We have different dimensions and a new method in how to photograph. The aesthetic of the story is not in asking ourselves what the story is. The aesthetic of the story is in how the story is told and explained. The narrative of the story and the photographic capabilities greatly exceeded the events of the story and anything else in the film, where scientific and physical facts and theories were used that greatly assist in storytelling. They greatly help in explaining the events and how they pass. Events and these scientific theories and physical facts that boggle your mind and drive you crazy have made my eyes stop closing while my time to sleep came.
Fine, but next time with subtitles.
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