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Christopher Nolan's Tenet - Espionage Movie


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Very bass heavy at home; but you can keep adjusting the volume down in the loudest bits, which allows you to raise the volume in the quiet bits. I suspect wearing headphones you get a different sound mix anyway.

 

quite liked it, but the finale made very limited sense to me: having no obvious baddie faction and so many people running around was just weird.

 

Spoiler

And if the past is immutable, then future Branagh can’t come back to die, because the worlds already ended - and ten seconds of thinking would tell him that; and if he’s only dying in one of the quantum many worlds, in order to resolve the grandfather paradox, who cares?

 

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7 hours ago, IcEBuRN said:

Nah it's fine. Some people are either deaf, or listening on their flat screens inbuilt speakers.

 

I think it's significantly worse if you have a powerful sub - after all virtually all of the complaints from this and previous Nolan films came from cinema showings, not home viewings. Dynamic range makes a big difference as well. Dynamic range gets worse the more compression you apply, never mind running it through various dodgy virtual audio processors which plenty of people will be doing. On a proper 5.1/7.1+ setup with a dedicated centre it's extremely easy to bump the centre speaker massively, making the isolated dialogue much louder than it is in the original unaltered mix. When you do that and you STILL can't hear some dialogue there's a problem. I have dynamic range set to normal rather than maximum as recommended for most homes because I don't want a huge discrepancy in dialogue/explosions. There's an auto/nightmode which reduces dynamic range artificially and makes Tenet somewhat easier to hear as I later discovered. But not as easy as simply mixing it properly in the first place.

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18 hours ago, footle said:

 

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And if the past is immutable, then future Branagh can’t come back to die, because the worlds already ended - and ten seconds of thinking would tell him that; and if he’s only dying in one of the quantum many worlds, in order to resolve the grandfather paradox, who cares?

 


 

Spoiler

My understanding of it is that he isn’t going to activate the algorithm when he dies, his death merely activates a data burst of some kind that records the location of the algorithm, so that the future people can find it in their own time, and activate it in order to reverse the time flow and erase the past from then.

 

This is why the final mission has to seem like a failure, so that Sator thinks the algorithm is buried and sends the data, but in reality the Protaganist and Ives extracted it and will presumably hide it in separate pieces in the past?

 

So when the future people open the buried site they will find the algorithm is not there. But, that doesn’t explain why they wouldn’t be able to send another message back earlier to solve that problem and at that point I don’t want to think about it any more. 

 

 

 

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On 24/12/2020 at 23:58, Don Wiskerando said:

The absolute nadir of this film was that meeting with a certain lord.

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It was good to meet you Sir Michael.

Fuck off with that 4th wall shit.

 

Oh no it has to be

 

Spoiler

It's being explained the entire world is going to end and everyone and everything will die and after Kat processes what that will mean, lets out; 'including my son'.

 

thanks for reminding us Christopher! Yes her son who has zero screen time who she doesn't actually spend any time with but who she cares deeply about will die. 

 

That she then just can't bare the thought of letting Branagh 'win' so jeopardizes the whole of humanity with petulant impatience (also meaning her son who she cares about will die) that is meant to express her struggle against a violent abuser is so weak.

 

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I just watched it again and it is better the second time around but it's still not great.

 

On the subject of audio issues, I had no problems at home using the built in TV speakers, but then I'm the only person at work who seems able to understand what our overseas dev team are saying in Teams meetings.   

 

It seems I have an ability to fill in the phonetic gaps which I learned reading Viz from the age of 10.

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I've been watching this through this morning, going in knowing that the audio mix wasn't optimal but I wasn't prepared. Everything @Moz detailed above is accurate, the LFE channel is unhinged and free to run rampant across all the other audio and the film really suffers. It was the exact opposite experience I had watching Soul, which is an audio design masterpiece. The intro sequence of that film is Atmos demo material. 

 

I couldn't be bothered to mess around with my settings to get through this so just sat with my finger on the remote. I was constantly in a state of readiness. For someone who claims to want people to be completely absorbed in his moves, he is pretty good at achieving the exact opposite. 

 

The film was fine I guess. I had to stop the film to pee, thinking I was entering the final scene, only to find out there was still an hour left. It is a bit of a drag. 

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This was fine? But it felt like a peculiarly straightforward take on a potentially quite complicated idea, like a pilot episode, and the very limited cast didn’t bounce off each other in the bright primary colour way I’ve enjoyed in Nolan’s other movies; they didn’t seem especially invested in each other. Perhaps all that was intentional because of the “Bond film” feel he was going for but it felt more like a faded duplicate of those kinds of movies than a tribute to them. In terms of spy movies more broadly, unfavourable comparisons to The Night Manager suggested themselves immediately.
 

Robert Pattinson was terrific but I’m glad I didn’t get the ‘roni for this. Red Dwarf did it better. 

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I watched it over the weekend - it's a decent concept and I got the overall idea I think, but moment to moment action scenes were incomprehensible, quite a problem for an action movie. Back in Memento, where you think "ooh that's clever", here you think "well, that probably is supposed to be clever but I don't follow it". Might be just me being dim I guess. But that two-way interrogation which you imagine they must have felt as some bravura moment was just baffling. And is it really an achievement to film a fight scene that looks stupid both forwards and backwards? And most of the twists were the same that any time travelling story has ever had

 

Spoiler

i.e. the characters themselves were the unknowing cause of most of the stuff that happened

 

That said, it's a nice little puzzler that had me thinking about it since I seen it so it has lingered in the mind and probably would yield a lot more in multiple viewings, but life's too short.

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8 hours ago, SozzlyJoe said:

But that two-way interrogation which you imagine they must have felt as some bravura moment was just baffling.

 

Yep, didn't have a scooby what that was all about. Not remotely interested in watching it again to find out.

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8 hours ago, SozzlyJoe said:

And is it really an achievement to film a fight scene that looks stupid both forwards and backwards?

 

I think you could sum up most of the action scenes that way, to be honest. It would perhaps be a bit harsh, but it wouldn't be wholly wrong either.

 

While I'm a huge Nolan fan ordinarily, I found little to appreciate in this besides Pattinson, and I have a suspicion that I might actually like it less on a rewatch - it was so desperately proud of how very clever it thought everything was. I know this is something that Nolan has long been criticised for but it's the first time that it really rang true for me.

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This is a terrible first watch. An equally terrible second watch. Much better with subtitles on the third go round...then on the fourth you become insufferable.

 

It's a fundamentally bad movie because Nolan has a pretence of respecting the audience, when it's just an excuse to spend lots of other peoples money on wank. With Covid I've caught it now a number of times for background noise. You catch something each time.

 

I now hate to love it rather than love to hate it. Ugh.

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That Pattinson fella has some chops. 

 

If not for him and Branagh's comedy accent, (lurching from Russian to angry Glaswegian), I'd have turned it off. 

 

Fair play as well for making Aaron Taylor-Johnson appear semi-convincing as an army tough guy. 

 

 

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Aaron Taylor-Johnson seems to be great at turning up in films but not leading them. He injects some energy into Outlaw King and Nocturnal Animals as well. His confident soldier in Tenet is very watchable. 

 

I thought he was disastrously bad in Godzilla, like this guy isn't an actor bad we won't see him again, but it must have been the lack of direction (getting the best out of performances is Gareth Edwards' weak point I think) and bland character because he's thrown himself into these small roles since. His intensity in Outlaw King is genuinely amazing to watch. 

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8 hours ago, Steve McQueef said:

That Pattinson fella has some chops. 

 

If not for him and Branagh's comedy accent, (lurching from Russian to angry Glaswegian), I'd have turned it off. 

 

Fair play as well for making Aaron Taylor-Johnson appear semi-convincing as an army tough guy. 

 

 

 

Yes, although I didn't like Noel Edmonds reprising his role from Jack Ryan: Shadow Recruit.

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23 hours ago, Festoon said:

 

Yes, although I didn't like Noel Edmonds reprising his role from Jack Ryan: Shadow Recruit.


Well that is disappointing but I respect your opinion.

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  • 1 month later...

I enjoyed Pattinson's personality trait of Wearing A Scarf. Almost as good as Debicki's personality of Being A Mum.

 

Desperately dull film, what perhaps bothered me most was that it's a heist film that almost completely removes the setup and preparation stages, which are crucial to the enjoyment of the big job. I thought I must have fallen asleep at one point as Washington and Pattinson were talking about all the things they need to plan and prepare, how they need to do it as covertly as possible to avoid detection, assemble a team. And then literally the next scene is just them doing the heist. Wait what?

 

This was especially galling as despite my misgivings about the film, Inception spent ample time giving the setup required to invest in a big heist. Even earlier in Tenet the shitey plane crash was given some amount of planning.

 

I'm a little amazed at just how much I glazed over while watching it. I wouldn't mind the sense of sheer spectacle if Nolan didn't keep trying to pretend that it's actually about the characters, when they're as paper thin as ever. Supposedly there's some friendship dynamic between Washington and Pattinson? Would have been nice if they shared a scene that wasn't expository dialogue or an action setpiece to give even the vaguest sense that they like each other's company.

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