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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
Monday, 15 June 2020 14:38

‘Artemis Fowl’ is, well … foul

There’s big money to be made in franchise filmmaking. With hundreds of millions of dollars potentially on the table, it’s no wonder that studios are constantly on the lookout for intellectual property that can be translated to the big screen for big bucks.

On paper, the “Artemis Fowl” series of books by Eoin Colfer looks like a solid bet. It’s got a high-concept hook revolving around a secret world of fairies, a kid protagonist and eight novels worth of narrative to be mined. The project has been in the works at various stages with various studios for almost two decades. And now, finally, with the Disney monolith behind it, the first film in the erstwhile franchise has arrived.

Don’t be surprised if it’s also the last.

“Artemis Fowl” – currently streaming on Disney+ and inexplicably directed by Kenneth Branagh – is wildly unsuccessful on just about every conceivable level. It is a jumbled mess that borders on incoherent, a scattershot attempt at world-building that basically throws a lot of stuff at the wall, only nothing really sticks. The tone is inconsistent and the plot is nonsensical. The 95-minute runtime is not nearly enough to provide the required context, though that is offset by the feeling of audience relief at its brevity.

While I can’t say for certain, since I haven’t read them, I have to assume that the books are better than this candy-colored lunacy. They’d have to be. They probably have an actual story, for instance, rather than a series of barely-connected events that may or may not have some bearing on the overall narrative. It has all the worst parts of an origin story without conveying much about, you know, the origin. All in all, a misfire of truly epic proportions.

Published in Movies

Mystery remake features all-star ensemble

Published in Movies

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