The News

Tenet Reviews

Backward In Time With Tenet Early Reviews
Jessica Kiang, New York Times: “Seek it out, if only to marvel at the entertainingly inane glory of what we once had and are in danger of never having again… At one point, a yacht is moored off the Amalfi Coast near Pompeii — a city petrified at the height of its decadence by a volcanic explosion it could not see coming. So seems Tenet, the kind of hugely expensive, blissfully empty spectacle it is difficult to imagine getting made in the near-to-medium future, now a fascinating artifact of a lovably clueless civilization unaware of the disaster lurking around the corner.”

Matt Goldberg, Collider: “Nolan and WB thinking Tenet would save moviegoing in the middle of a pandemic only to be greeted by lukewarm reviews”

Barry Hertz, Globe & Mail: “There are spectacular action scenes filmed in exotic international locales, all captured in gloriously intimidating IMAX. There are never-smiling men engaging in acts of ultra-serious violence. An obsession with the super-wealthy. A booming score so floor-shaking that it drowns out almost all the dialogue. A plot point fixed on the separation of a parent and child. And while there are no dead wives à la Nolan’s FollowingMementoThe PrestigeThe Dark Knight Rises, Inception and Interstellar, there is an abused wife. Oh, and Michael Caine is here, too.”

Mike Ryan, Uproxx: “I’ve been struggling with how to cover a movie like Tenet, a film trying to get people back in theaters in the U.S. during a pandemic when experts say it’s the last thing we should do. And, morally, at all endorsing or normalizing something I wouldn’t do… The whole city has been devastated. But we also saw the alternative and it was a nightmare. And that’s a reason why I don’t have the answer to any of this. It’s all such a mess. It didn’t have to be a mess, but it is a mess. The only thing I know for sure is I wouldn’t go to a movie theater right now if my life depended on it.”

Chris Evangelista, Slashfilm: “The irony is that WB probably could’ve counterbalanced this by giving US critics screeners, but no, they REFUSE to give in to that, and now have a small number of so-so reviews killing the buzz. WHOOPS.”

Mike McCahill, IndieWire: “Exhausting, rather joyless… Among the movie’s less appealing spectacles: an 87-year-old eating steak in close up… eventually, we reach a drowsy Mediterranean backwaters… interminably PG-13 shootouts and fistfights replace those tangible, haunting Post-Its and Polaroids… Nolan has dedicated himself to fabricating vast, clanking machine-movies… The clanking here is partly intentional… The hope is Nolan can bolster that industrial process with flickers of heart, as he did sporadically in Inception and even hyper-clanky Interstellar.”

No Responses to “Tenet Reviews”

Comments are closed.

MCN Commentary & Analysis See All

THB #93: The Batman (no spoilers)

David Poland | March 6, 2022

THB #76: 9 Weeks To Oscar

David Poland | January 26, 2022

THB #73: Netflix Is Chilled

David Poland | January 24, 2022

The News Curated by Ray Pride See All

-30-

May 1, 2022

The New York Times

"Netflix, the great disrupter whose algorithms and direct-to-consumer platform have forced powerful media incumbents to rethink their economic models, now seems to need a big strategy change itself. It got me thinking about the simple idea that my film and TV production company Blumhouse is built on: If you give artists a lot of creative freedom and a little money upfront but a big stake in the movie’s or TV show’s commercial success, more often than not the result will be both commercial (the filmmakers are incentivized to make films that will resonate with audiences) and artistically interesting (creative freedom!). This approach has yielded movies as varied as Get Out (made for $4.5 million, with worldwide box office receipts of more than $250 million), Whiplash (made for $3.3 million, winner of three Academy Awards), The Invisible Man (made for $7 million, earned more than $140 million) and Paranormal Activity (made for $15,000, grossed more than $190 million).From the beginning, the most important strategy I used to persuade artists to work with me was to make radically transparent deals: We usually paid the artists (“participants” in Hollywood lingo) the absolute minimum allowable by union contracts upfront, with the promise of healthy bonuses based on actual box office results—instead of the opaque 'percentage points' that artists are usually offered. Anyone can see box office results immediately, so creators don’t quarrel with the payouts. In fact, when it comes time for an artist to collect a bonus based on box office receipts, I email a video clip of myself dropping the check off at FedEx to the recipient."
Jason Blum Sees Room For "Scrappier" Netflix

The New York Times | April 30, 2022

"As a critic Gavin was entertaining, wry, questioning, sensitive, perceptive"
Critic-Filmmaker Gavin Millar Was 84; Films Include Cream In My Coffee, Dreamchild

April 29, 2022

The New York Times

Disney Executive Geoff Morrell Out After Less Than Four Months

The New York Times | April 29, 2022

The Video Section See All

Mike Mills, C’mon C’mon

David Poland | January 24, 2022

The Podcast Section See All