In the filmography of Tom Hanks that intersects with Paul Greengrass, he was the Captain then and he is the Captain now in their collaborations. The first was 2013’s Captain Phillips and I still harbor a grudge that the multiple Oscar winner and nominee didn’t pick up another nod for it. His final scene in Phillips as he’s in shock over the real life events in which he barely survived was reason enough for further awards consideration. That movie left me floored. News of the World left me satisfied as Hanks once again gives a commanding performance with a newcomer costar who is his equal.
This time around, Hanks is Captain Jefferson Kyle Kidd. Set in 1870 amidst gorgeous Western scenery, Kidd is a former Confederate soldier traveling the American South. He earns his living schlepping from town to town and reading the latest newspaper stories to an attentive crowd. The happenings of Washington D.C. (led by President Ulysses S. Grant who Southerners aren’t exactly fond of) are hundreds of miles away. Yet 150 years now, they might as well be on Mars. The film doesn’t dwell on these struggling towns digging their way out of the Civil War, but that history is always present underneath the surface.
Kidd’s solo journey is interrupted when he happens upon a young girl Johanna (Helena Zengel). Her blonde hair and blue eyes indicates her German heritage, but her Native American garb tells a different background. She speaks the language of a tribe and it is revealed that her original family and those who raised her after their demise have perished as well. A double orphan, Kidd reluctantly accepts the responsibility of returning Johanna to her surviving family that she’s never met. Kidd’s own familial history is gradually revealed.
Thus begins an episodic quest where the language barrier between the two leads isn’t the only complication. There are also ex-soldiers who try to purchase Johanna and that leads to Kidd entering into battle a half decade after the war’s end. There are rough stops on the speaking tour that put the wild in the west. And, being that it’s Tom Hanks leading the horse drawn wagon, there’s a fundamental decency in his interactions with his copilot and a paternal instinct that kicks in.
News of the World is, quite simply, a rock solid picture. We know Hanks will turn in exemplary work and he does. The performance of Zengel is the surprise and is one of the best child performances in recent memory. She says more with an expression than plenty of actors do in a monologue. It has become cliche to call Hanks the Jimmy Stewart of his time, but it’s so true. There are times when I could imagine Stewart playing this part in something from the 1950s or 60s. That old fashioned vibe is a contrast to Greengrass’s earlier catalogue that includes the Bourne franchise, United 93, and Captain Phillips. Those pictures had a fierce urgency to them. World is more laid back, but with frequent reminders of the violent atmosphere permeating the post War era.
Hanks could read the phonebook and it would draw interest. Telephones didn’t come around until 1876 so his tales off the printed page do just fine. He also has a worthy partner in Zengel and top notch work from his director and crew.
***1/2 (out of four)
Brad Furman’s City of Lies, originally scheduled for 2018, was delayed and the reason why depends on what you read. It could be because the LAPD didn’t want it to come out based on their bad behavior with the case it involves. Or it could be due to recent bad behavior of its own leading man. City of Lies itself isn’t a bad movie. It just doesn’t doesn’t add a whole lot to a well covered story told in other mediums.
The film recounts the still unsolved homicide investigation of The Notorious B.I.G. thru the lens of Detective Russell Poole (Johnny Depp) and journalist Jack (Forest Whitaker). When the murder occurred in the spring of 1997 in Los Angeles, this was in the aftermath of the 1992 riots and the O.J. Simpson trial. It was also, of course, mere months following the killing of another rap superstar Tupac Shakur.
Based on Randall Sullivan’s book LAbyrinth, the picture puts forth the theory that LAPD officers were deeply involved in the plot to take out Brooklyn’s legendary rapper in conjunction with Death Row Records and its founder Suge Knight. Yet with the aforementioned events in Southern California, Detective Poole’s efforts to expose the corruption was buried.
For those with an interest in this nearly 25-year-old unsolved mystery, none of this is new information. It’s been told in various documentaries and novels. The two lead characters collaborate some 18 years after Biggie’s death. Poole’s earlier investigation (seen in flashbacks) has led to the downfall of his career and family life. Jack’s previous journalistic writings on the case posited mostly discounted speculation that Biggie ordered Tupac’s fateful ride on Las Vegas Boulevard. He’s preparing a 20 year retrospective of the murders and Poole’s hypotheses are increasing in their validity (despite the LAPD’s continued obstruction).
Depp and Whitaker are two actors who can chew scenery. Both of their performances here are more on the subtle side and they’re both solid. City of Lies, unfortunately too often, is a subdued record of an urgent subject. Late in the proceedings, there’s a scene where Biggie’s mother Voletta Wallace plays herself. It’s quite well-done and is a brief and powerful reminder of her unending search for answers. Had the individuals involved not been named Biggie and Tupac and Suge Knight, the pic would mostly feel no different than a typical episode of a police procedural. Ms. Wallace’s late appearance keeps us mindful of the real cost involved with justice delayed.
**1/2 (out of four)
Adam Wingard’s Godzilla vs. Kong is lighter than its MonsterVerse predecessor Godzilla: King of the Monsters from 2019. I don’t just mean lighter in tone (which it is), but actually lighter where it counts. When the two title character titans clash, we can actually see it. That’s an improvement over what transpired two years ago when Godzilla’s battles were too dimly lit or obscured by pounding rain. That’s a major plus, but not every aspect of this franchise has leveled up. The human characters are still an uninteresting and bland group. We have fine actors whose primary responsibility is to talk about the massive CGI combatants and react to what they’re doing. Their character development is a secondary consideration. That said – we’re not here for that, are we? This is the culmination of three pictures leading to a movie being named Godzilla vs. Kong and it frequently manages to deliver.
We last left King Kong in the 1970s during Kong: Skull Island and Godzilla in the aforementioned Monsters when he successfully warded off King Ghidorah and others. The fourth franchise entry picks up five years after Monsters as Kong is being monitored by Monarch on his native island. His human contact is mostly with linguist Dr. Andrews (Rebecca Hall) and her deaf adopted daughter Jia (Kaylee Hottle), who’s a native of the island. A magazine cover identifies the doctor as the “Kong Whisperer”, but it’s clearly Jia who’s found the most sincere connection with the massive ape. Also on Kong patrol is geologist Dr. Lind (Alexander Skarsgard).
While Kong is living a pretty chill existence on Skull Island, Godzilla’s fiery temper unexpectedly flares up. The not so jolly green giant has resurfaced to do lots of property destruction. His inexplicable attitude adjustment causes the CEO of APEX (Demian Bichir) to recruit Kong to solve this dilemma. APEX is a big shadowy corporation that sells itself as trying to solve the Titans problem. That doesn’t gel with conspiracy theorist Bernie (Brian Tyree Henry) and he’s got sympathizers with Madison Russell (Millie Bobby Brown, returning from Monsters) and her nerdy buddy Josh (Julian Dennison). Madison’s dad, played by Kyle Chandler, also reprises his Monsters role.
Enough with the plot which also involves specialized vehicles zooming through gravity fields. All of this is a prelude to watching Godzilla and Kong fight. It happens early (no shades of the slow buildup of 2014’s Godzilla) and round 1 transpires on water and is gloriously lighted for our entertainment.
The main event is in Hong Kong and that’s when we learn why Godzilla is being so irritable (hint: corporate greed is a factor). The climactic matchup is preceded by some fairly dull scenes with humans. No performance is bad. They’re just inconsequential with the exception of Hottle’s Jia in a winning performance. As long as we’re able to ignore the poor people in the buildings that are demolished with Kong and Godzilla’s every twitch and stumble, these skirmishes are expertly staged and enjoyable. I’d put it a notch below 2014’s Godzilla stand-alone from Gareth Edwards, but a hair above Kong: Skull Island and certainly ahead of Monsters. This delivers on its title well enough and is lit properly.
*** (out of four)
Looking back on my Godzilla review from 2014, I spoke of how it felt like a party where the main character (that would be the fire breathing title one) wasn’t invited until halfway through. You expected Godzilla to be there the whole time. That left a level of disappointment, but the Gareth Edwards reboot of the franchise was worth the wait in the end. The sequel Godzilla: King of the Monsters RSVP’s the main attraction early on and he brings some familiar friends to the shindig. That doesn’t make the party better.
Michael Dougherty takes over directorial duties in a follow-up that feels bigger with its sprawling cast and action sequences. It also feels more cluttered and more like a prelude to what’s coming next in the MonsterVerse (Godzilla vs. Kong). That’s not an issue shared by 2014’s predecessor. Monsters picks up five years after the events of Godzilla when the creature managed to save the world and leave some collateral damage. That includes the young son of biologist Dr. Emma Russell (Vera Farmiga) and animal behavioralist Mark (Kyle Chandler). The parents have reacted differently and separately from the tragedy. Dr. Emma still believes in Godzilla’s global saving abilities, but in a dangerous way that teams her with an ecoterrorist (Charles Dance). Mark’s grief is directed toward Godzilla. Daughter Madison (Millie Bobby Brown) is caught in the middle.
The family drama pits the estranged couple on opposites ends of the battle. More monsters are awoken from their slumber in various Monarch stations to wreak havoc. It results in the destruction of monuments in quite familiar Independence Day/Transformers style fashion. Toho stalwarts Rodan, Mothra, and King Ghidorah are the aforementioned party dwellers joining the fray. The big fights are shot in destinations where the forecast is either a downpour or so dark that it’s often frustratingly hard to tell what is happening.
In addition to the Russell family, lots of recognizable actors are left to mostly stand and gawk at the monstrous activity. The film does have the distinction of adding another performer to the trifecta of prominent N.W.A. members (speaking of monster verses!) from Straight Outta Compton. In Kong: Skull Island, we had Eazy-E (Jason Mitchell) and Dr. Dre (Corey Hawkins). Now we have O’Shea Jackson Jr. (who played his dad Ice Cube in Compton) as a soldier. David Strathairn, Sally Hawkins, and Ken Watanabe reprise their 2014 roles while Bradley Whitford, Thomas Middleditch, and Zhang Ziyi are fresh gawkers. There’s not really a human performance to highlight. Just as Bryan Cranston earned some rightful criticism for his wild overacting in Godzilla, here we have Kyle Chandler often speaking in an intense and earnest hoarse whisper that is perhaps more annoying.
There’s a brief middle section where Godzilla is given a unique wakeup call. It transpires underwater where we discover the iconic radioactive creature’s original habitat. I found this to be the most well-constructed and engaging sequence. It hints at ancient stories that would probably be cool to explore. This doesn’t last long and before we know it, we are back to the dimly lit and rain soaked above ground CG brawls. They’re occasionally fun, but they will fall straight outta mind in short order. Maybe King Kong getting in on this will brighten things up.
** (out of four)
For my Godzilla (2014) review, click here:
Godzilla (2014) Movie Review
For my Kong: Skull Island review, click here:
Kong: Skull Island Movie Review
Florian Zeller’s The Father takes us devastatingly into the mind of a man who’s losing his own to dementia. Based on the director’s 2012 play Le Pere, the film is not an easy watch due to both its emotional themes and often confusing storyline. However, the latter is on purpose as The Father is frequently told from the viewpoint of Anthony (Anthony Hopkins) as he has lost his grip on time, place, and reality.
Primarily taking place in a London flat, Anthony is being cared for by his daughter Anne (Olivia Colman) as the picture opens. It doesn’t take long to realize he suffers lapses in cognition. Anne tells her father that she will soon move to Paris because she’s fallen in love. Shortly thereafter we see Anne in the form of another woman (Olivia Williams) and she’s married to Paul (Mark Gatiss), which puts Anne’s recent tale of French relocation into question. Paul is later seen in the form of another being (Rufus Sewell) with Colman’s iteration of Anne back in the mix.
This is the puzzle piece in which we, the audience, are constantly piecing together. It’s soon apparent that we are subject to Anthony’s failing perspective. The Father covers the familiar issues involved with dementia in often unfamiliar ways: elder abuse, the exhaustive toll on family members, the brief moments of clarity that justify soldiering on.
There’s also the issue of another daughter who Anthony holds in high regard, but has seemingly disappeared from the scene. We see glimpses of Anthony’s gregarious personality when he lays on the charm for a prospective new caretaker (Imogen Poots). It coincides with his sometimes dismissive treatment of Anne.
All of this is held together by a masterful performance from Hopkins. Despite his movie star persona, it takes virtually no time in its 97 minutes for the Oscar winner to disappear into the role. The supporting cast is all first-rate, but our emotions rise and fall with Anthony’s own. For those with first-hand experience with this awful illness, The Father is a challenge to witness. For any moviegoer, it’s also an example of a unique take on the subject with a brilliant performance in the center of the tragic confusion.
***1/2 (out of four)
The heights of Kristin Wiig and Annie Mumolo’s writing partnership has been airborne for a decade now. In their 2011 collaboration Bridesmaids (which was Wiig’s deserved breakout on the big screen), the funniest scene of many took place on a plane with the bridal party trying and failing to get to Vegas. That thwarted flight was uproariously due to the lead’s drunken exploits. Wiig and Mumolo’s teaming ten years later in Barb and Star Go to Vista Del Mar again provides my favorite highlight above the clouds.
Wiig is Star and Mumolo is Barb. They are Nebraskan BFF’s recently fired from their jobs and looking to shake things up. When they decide that a Florida trip is the way to do it, their discussion on the flight involves them inventing a superstar woman named Trish. The dialogue proves the following: just like their characters, Wiig and Mumolo can create seemingly improvised silliness that is downright hilarious. Their emotional investment in the fictitious Trish is a sight to behold.
The best moments here are throwaway lines and conversations that could have worked just as well with Barb and Star as characters on Saturday Night Live doing a Weekend Update bit. Is that enough to satisfactorily fill two hours? Not really, but you can’t help but praise the leads/co-writers for trying.
Barb and Star is far more of a dumb comedy than Bridesmaids and I don’t mean that in a bad way. The tone is pure farce and there’s unexpected musical performances that interrupt the absurdity. We have Jamie Dornan showing a different shade of his personality from his Christian Grey persona (he gets perhaps the most memorable singing assignment). Wiig gets to pull double duty as a villainess with an aversion to sunlight. Her grand plan involves destroying Vista Del Mar and unleashing deadly mosquitoes on the town’s populace (think Austin Powers levels of scheming). Dornan is her lover/henchman sent to do some of the dirty work. When he meets the sweet and naive Midwestern besties, the possibilities of a throuple get real and then real complicated.
It seems irrelevant to spend much word space delving into the plot – which is incidental. Barb and Star works or doesn’t based on how much you believe this premise can be stretched. I have to be frank. I’m not referring to the franks that our two heroines put in their soup during Talking Club, which is Nebraska’s version of ladies night and is run with military precision by its leader (Vanessa Bayer). The film sort of runs out of steam (not the steam emanating from said franks) about midway through by my meter. The inventive Trish talk, the hot dog soup, and the dawning of the Dornan dalliances are all first half occurrences. I do give the script some props for being so gleefully bizarre. Wiig and Mumolo’s second effort is destined to become a cult classic and I imagine Barb and Star Halloween costumes (love those culottes) this fall. I could never quite fully escape the feeling that it might have worked better as shorter sketches on the program that made Wiig a star before Star.
**1/2 (out of four)
John Lee Hancock’s The Little Things was apparently written in 1993 and there is indeed a retro vibe. This feels like it could have been in a VHS case taking up a whole shelf at Blockbuster. It might have starred Denzel Washington back then. Not everything has changed. Nearly three decades later, however, you can stream it away without having to remember to rewind.
Set in 1990, someone is killing young women in Los Angeles and those investigating haven’t moved past square one. Joe Deacon (played by Washington) is a former LAPD detective now doing deputy grunt work north of the city. When he has to make a trip to the City of Angels, he discovers the spree could be related to an unsolved series of killings that he never cracked. Newcomer Jimmy Baxter (Rami Malek) is heading up the current investigation. For reasons never quite spelled out, he’s more than eager to allow Deacon to become his off the books partner. It’s hinted at early on that Deacon’s previous work left him unwelcome in the force and that lurks over the two hour plus runtime.
Their pairing leads to some dead ends until they happen upon Albert Sparma (Jared Leto), who seemingly fits the profile of the perp. Problem is, the aggressively weird suspect might just have a jones for the attention. He’s a true crime buff who appears thrilled sitting in the interrogation room with the iconic one way mirror. Deacon and Jimmy are the cats trying to catch this potential killer with the mousy hair for most of the second half. With Leto portraying him, he gives the character his bizarre all that is pretty humorous and compulsively watchable.
So many of these procedurals pose the question of whether all this grisly work by the detectives is worth the emotional strain it causes. In The Little Things, the answer is murkier and that provides some slightly intriguing twists. I don’t want to give it too much credit, but every little bit helps and so does the involvement of three Oscar winners.
Comparisons to Seven (basically the standard bearer of these types) are inevitable and there’s even a car ride with the killer (?) bearing the promise of a case cracking discovery. The Little Things is often boxed in with familiar story beats and some head into credibility straining territory. Isn’t that what most of those 90s era VHS selections did though? Perhaps I’m being too kind and I don’t envision rewinding Things anytime soon. Yet even with its flaws, Hancock’s delve into this genre is a reasonably rewarding throwback.
*** (out of four)
**There’s really no proper to review Run without some spoilers, so consider yourself warned.**
Cinematic logic dictates that no matter carefully the villain in a thriller strives to cover up their crimes, they will save a newspaper article in a fairly convenient location that exposes their vicious deeds. Same goes for opened mail that was meant for someone else. These time tested cliches are in Aneesh Chaganty’s Hulu pic Run, the director’s follow-up to his well regarded Searching from 2018. And there are additional moments in the efficient 89 minutes of screen time that are straight out of its Genre 101.
That said, Run has some things going for it. We open with Diane Sherman (Sarah Paulson) giving birth prematurely to her daughter whose survival in question. Flash forward 17 years later and Chloe (Kiera Allen, making her film debut) is alive, but in a wheelchair and experiencing various other illnesses. It’s time for the homeschooled teen to eagerly leave the nest for college which Mom appears cool with. Not so fast.
It takes little time for the screenplay to establish that a Munchausen by proxy situation could be happening. For those who haven’t consulted their medical journals lately, the question is whether Diane is purposely keeping her actually health child sick and confining her to their Washington farmhouse. The casting of Paulson, known for playing whackos, is a solid clue.
Run is elevated by its lead performances. We know what to expect from its known actress and Paulson plays this Mommie Dearest to the hilt. However, it’s Allen who shines. Chloe is certainly a character to be pitied, but she’s also much smarter and resourceful than your average daughter in distress.
As mentioned, the mechanisms of the storyline do cover familiar ground as Chloe tries to wheel or (maybe) walk far away from this matriarchal mayhem. Diane would have been wise to invest in a paper shredder as she tries to cut off Chloe’s access to the outside world. Yet Run earns points with a genuinely strong and sympathetic heroine and a final twist that confirms she is still a step ahead of her captor.
*** (out of four)
I wish Wonder Woman 1984 wasn’t the disjointed viewing experience that it mostly is. I wish it had the humor that landed in the 2017 pic and the sweet love story between its heroine and her man that was well-developed. Here the humor seems forced as does the interplay between Gal Gadot’s title character and WWI pilot Steve Trevor (Chris Pine). This is a sequel that feels like busywork and it’s devoid of, yes, some of the wonder that made the original a bright spot in the DC Extended Universe.
1984 means leg warmers and action sequences set in shopping malls. It also means part 2 picks up nearly seven decades later. Gadot’s Diana fills her days as an anthropologist at the Smithsonian and her nights pining for the long departed Steve. Of course, she also does some Wonder Woman stuff in between. When she thwarts a jewel heist in one of those sprawling shopping structures, it turns out the thieves were really after some black market artifacts that weren’t on display. That includes an ancient “Dreamstone” of Latin origin that grants wishes no matter how dangerous they might be. For Diana, it means bringing her lost love back. This is handled by Pine returning in the form of some random DC dude. While Pine’s courtship with Diana was a high point the first time around, the actor is now relegated to gawking in wide eyed disbelief at rocket ships and escalators. His participation here never smacks of anything more than plot device mechanics and that’s a letdown. He does get a reverse Pretty Woman style sequence in which he tries on pirate looking shirts and fanny packs in front of his nonplussed girlfriend. So there’s that.
Of course, this “Dreamstone” leads to nefarious actions from others. Max Lord (Pedro Pascal) is a failed businessman who’s known for cheesy infomercials. His acquiring of the artifact allows him to amass significant power and oil. He also has a young son that he’s desperately trying to impress and that results in some mawkish moments. And there’s Kristin Wiig as Barbara. She’s Diana’s supremely unconfident geologist coworker. Barbara feels invisible until her interaction with the Stone makes her as tough and beautiful as her fellow employee. Unfortunately her power trip partners her with the megalomaniac Max and his misguided plans. For Wiig, Barbara is one of those characters who immediately becomes attractive once her big glasses and frumpy dress go by the wayside. She’s simply not a memorable villainess. There are shades of Michelle Pfeiffer’s Catwoman from Batman Returns, but she’s not written nearly as potently.
Pascal’s Max is another story. I can’t say he’s not memorable because the performer portraying him goes way over the top in doing so. I think Pascal knows how much he’s hamming it up and his go for broke attitude does provide a bit of fun. That’s welcome because it’s in short supply. I might volley back and forth on whether he’s actually great or kinda terrible here, but it’s a performance worth mentioning. That’s more than I can say for everyone else.
For two and a half hours, 1984 often forgets to bring the joy. There’s a make it up as we go along vibe that wasn’t as noticeable when Patty Jenkins helmed the first (she returns here and is one of three cowriters).
Wonder Woman 1984 is all about how you can’t get ahead by cheating and lying (a prologue featuring some familiar faces from part 1 makes that message clear). The following 150 minutes hammers it home with convenient and haphazard storylines that, ironically, sometime feel like cheats. I wish this came close to the quality of Gadot’s first stand-alone venture, but we are left waiting and wanting in 1984.
** (out of four)
What time is it?
It’s an often asked question that usually elicits a clear and simple answer. Not in Christopher Nolan’s movies. The answers in his movies are complicated, often maddening, and frequently grandly entertaining. We’ve seen it in Memento, Inception, and Interstellar with the latter being a mixed bag and the first two being pretty great. His latest is Tenet and it definitely falls more into the maddening territory with big and loud moments of thrills. You may wish you had a physics degree during it, but this is mostly an excuse for Nolan to play in the super spy genre with a bunch of quantum related gobbledygook thrown in. The director’s most ardent admirers may study it endlessly for Easter eggs and clues as to its true meaning. Upon first watch, I’m not so sure Tenet is worth the scrutiny. Yet there’s some car chases and battle scenes played to Nigel Tufnel levels of volume that land pleasingly on screens big and small. Weird science and hundreds of millions of dollars worth of action set pieces… this is Nolan’s rap and he frequently goes to eleven in this one.
John David Washington is (rather annoyingly) known only as The Protagonist. Let’s call him “Pro” for the duration of this review. A government agent who proves his bonafides to his superiors, he’s allowed into a secret organization known as the picture’s title. Pro’s new assignment tasks him with preventing something “worse” than nuclear holocaust in one example of some clunky dialogue. This is where the physics lessons are useful. You see, Russian oligarch Andrei Sator (Kenneth Branagh) is hellbent on destroying the past and future through the concept of “inversion”. Essentially this means playing with time travel concepts that can wipe out what occurred before or after. I’m not sure Doc Brown could properly provide sufficient exposition without multiple viewings and neither can Pro or his partner Neil (Robert Pattinson). You may want to look up “temporal pincer movements” before you watch.
In addition to Pro’s teaming with Neil, his mission to stop Sator also involves the villain’s estranged wife Kat (Elizabeth Debicki). She’s quite good here and she’s really the only heroic figure that’s written with any layers. Washington and Pattinson are just fine, though their characters are quite dull on the page and screen. For Branagh, this is his chance to ham it up in true Bond baddie style and he relishes it. We have also get a bit of Michael Caine (common for a Nolan experience) and internationally known Hindi actress Dimple Kapadia as an arms trafficker.
Tenet does feature the aforementioned action set pieces that are impressive in scope and tech wizardry. The director doesn’t handle these sequences with half measures. If the scene calls for a 747 to be demolished, you best believe that plane was actually destroyed. The inversion concept lends to eye candy moments with backwards cars screeching on the highway and seagulls (!) even flying in reverse.
Very early on, a scientist is explaining the science behind Tenet to Pro with the following dialogue: “Don’t try to understand it. Feel it.” I wrote that piece of advice down immediately. I had a notion these words might aptly describe the next two hours plus. And they do. I certainly felt the decibel levels of Nolan and his crew choreographing expensive battles. They take place all over the globe in Norway, Italy, and Siberia. I did not, on the other hand, feel too invested in the complicated narrative mechanics that cause them. In fact, I wrote down something else I didn’t expect to while watching – “Austin Powers”. In that super spy’s second outing, The Spy Who Shagged Me, Austin attempts to understand the highly confusing time travel plot in a conversation with his colleague Basil. After twisting his brain into a knot discussing it, Basil smartly replies “I suggest you don’t worry about those things and just enjoy yourself.” He then turns to the camera and says to us – “That goes for all of you, too.” It’s a funnier way of asking us to feel it whether we understand it or not. That request succeeds only intermittently with Tenet.
**1/2 (out of four)