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TENET – Ludwig Göransson
Original Review by Jonathan Broxton
WARNING: THIS REVIEW CONTAINS PLOT SPOILERS. IF YOU HAVE NOT YET SEEN THE FILM, YOU MIGHT WANT TO CONSIDER WAITING UNTIL AFTER YOU HAVE DONE SO TO READ IT.
The dual concepts of time and reality have been at the forefront of Christopher Nolan’s films almost since the very beginning of his career, when his sophomore effort Memento in 2000 explored the life of a man with no short-term memory by essentially running the movie backwards. Most of his subsequent films – including The Prestige, Inception, and Interstellar – have tackled variations on similar themes, from dreams within dreams, to the circular temporal nature of interplanetary travel via black holes. Even his last film, Dunkirk, messed around with time by presenting the evacuation of the beaches of Normandy in 1940 from three different perspectives, all of whom experience the event from a different chronological point of view. With Tenet, however, Nolan has delved into these concepts more deeply than ever before, creating a film that examines the notion of time from a physiological point of view, introducing theories as complex as statistical mechanics and thermodynamic entropy into a large-scale action spy thriller. Read more…
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