There's frightful pressure on being the first blockbuster to welcome masked viewers onto the lonely velvet seats; 'Tenet' needed to be a ground breaker. Christopher Nolan is yet to disappoint us with outstanding previous sci-fi graphics and manipulating sound designs in Inception (2010) Intersteller (2014) and Dunkirk (2017). If there was ever a director to take us into a spin of dystopia - all within a quiet black room - it was Christopher. But were audiences ready for the heightened intensity after nearly half a year of minimalistic home-steaming?
Movie beginnings don't get more stimulated than this. Similar to the fiery driving scenes at the start of Edgar Wright's 'Baby Driver' (2017), the action swoops you in quicker than a cheetah.
Moving from a van of army comrades sent in to rescue a high flyer individual, the drama starts to unravel in a grand theatre hall. The detail in Nolan films are exceptional - you sense it when looking at the thousands of extra's lined in rows on screen - that the world you're submerged into as a viewer is absorbingly real. As the protagonist (John David Washington) starts to seek ulterior motives for his questionable rescues, the SFX effects and edits are sublime in taking you across the world for his rapid adventures.
From sprinting up glass buildings in Mumbai, to speed boating through crystal sea water; the film had a gloss of wealthiness that suited the sleek leader. With a string of mystery round every corner, Robert Patterson's levelled out the tension with his nonchalant blonde flicking persona. He stood out fantastically being the ideal right hand man for John's all too serious mannerisms. The actor, once again, showcased his acting techniques for combat films having developed from a young blood eating teenager. Even though John's character was less engaging, the actors dedication to the sequences and fighting throughout was impeccable.
No other actress could have pulled off the long-legged diver such as Elizabeth Debicki. Her emotion and bravery in the film was sublime; the fact Nolan decided that she would decide her husbands fate was a unique depiction of female heroism in this genre.
There is no doubt about applauding the impressive the audio for this engaging thriller. However, with such bellowing soundscapes - and the fact the actors were constantly wearing masks to breathe in between worlds - the dialogue became muffled and incomprehensible for the audience. With the narrative already being a complicated matter between past and future, there was a real desire for clear speech between the characters that lacked throughout.
The casting for Saton, the villainous Russian, fell short with Kenneth Branagh for this dangerous mission. Even with the actor frequently screaming down the lens with fury, after witnessing his previous warm-hearted characters in Harry Potter (2002) and Cinderella (2014), there was no chill to his threatening ways.
A technical triumphant - the movie was an experience within itself for coordinating a sequence of worldwide events alongside a nail biting chase. Perhaps, with the overload of information our brains are currently undergoing - to deflect a worldwide killing disease - the film's complex tale and impacting scenes was too excessive to depict in a civilisation of uncertainty. But as Nolan's sound defining cinematic reels go; it was a piece of artistic pleasure.