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Wednesday, 02 September 2020 16:01

Time is (not) on my side – ‘Tenet’

Christopher Nolan has clout. And he’s unafraid to use it.

It’s almost cliché at this point to talk about Nolan’s position as the last bastion of original idea-driven blockbuster filmmaking. Yes, the cinematic landscape is defined by the ebb and flow of franchises now. Hell, Nolan understands that better than anyone – he did his franchise turn with Batman, after all, though those films are obviously superhero outliers. But he’s the guy who can get a nine-figure check to direct his own non-IP script.

He’s at it again with “Tenet,” currently in theaters. I’ll be real with you – I’m not at all sure how to talk about this movie to people who haven’t already seen it. But hey, that’s the gig, right?

There’s obviously a lot of baggage here. Nolan’s insistence that the film be experienced in a theater turned it into a bellwether, leaving it to assume the burden of expectation with regard to theatrical reopenings writ large. That pressure can’t help but inform the way audiences experience the film. Add to that the outsized expectations that always accompany the filmmaker’s work and you’ve got a recipe for disappointment.

Thankfully, Nolan’s skill is such that he largely manages to sidestep that potential letdown. “Tenet” isn’t a perfect movie, but it is the sort of meticulously-constructed blockbuster that we’ve come to expect from the director. It is massive in scope, a challenging puzzle box of a film that works both as pure spectacle and as something a bit more thoughtful. The complexities of the plot skate right up to the edge of confusion, but anyone sitting down to watch a Nolan movie should probably expect some sort of chronological convolution.

And boy, do we ever get some of that.

Published in Movies
Friday, 24 August 2018 08:57

‘BlacKkKlansman’ goes under the hood

When it comes to telling true stories at the movies, one always has to recognize the flexibility of the notion of what is “true.” Terms like “based on” and “inspired by” give filmmakers a lot of leeway as far as shaping these true events in such a way as to serve the story they wish to tell.

Spike Lee’s latest film “BlacKkKlansman” is foundationally a true story, based on the memoir “Black Klansman” by Ron Stallworth. But again, there’s small-t true and Large-T True, and with a visionary auteur like Lee both running the camera and creating the script (Lee co-wrote the screenplay along with David Rabinowitz, Charlie Wachtel and Kevin Willmott), well … he’s going to err on the side of Large-T every time.

Published in Movies

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