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Tenet - Trailer and Discussion Thread (Opening 09/03/20)

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skillzdadirecta

skillzdadirecta

Posted
Posted
4 hours ago, Remarkableriots said:

https://www.msn.com/en-us/movies/news/movie-theaters-still-aren-e2-80-99t-safe-tom-cruise-wants-you-to-go-back-anyway/ar-BB18yGWe?ocid=uxbndlbing

This line jumped out to me.

 

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He hasn’t been in charge of a bungled federal response, nor is he wantonly spreading false information to the public, but Nolan has become a second-tier villain of the pandemic. Although he’s been relatively quiet as Tenet’s release date has been adjusted and adjusted and adjusted again, when he has spoken, it’s been in the same rhapsodic register as Cruise. In a video for Chinese moviegoers who’ll be seeing the film this week, for instance, he said, “I like nothing more than escaping to another world through the power of movies. And Tenet is our attempt to make as big a film as possible, with as immersive action as possible for the big screen.” It’s in line with long-standing Hollywood tradition to frame an epic adventure film like Tenet as a means of imaginative escape for people across the globe whose lives have been upended by a rampaging virus and the economic and social collapses it’s brought in its wake. While two and a half hours in the immersive environment of an Imax theater might provide needed escapism for viewers mired in the culture of the coronavirus, it provides no escape from the virus itself. It’s telling that Nolan foregrounds cinema’s ability to help us forget the world around us rather than, say, critically engage or rethink it. It’s no use taking a fantastic voyage to Christopher Nolan’s alternate universe if our bodies are still sitting around in this one, snorting up all the aerosol droplets the theater’s A/C vents are helpfully distributing around the room. The “power of the movies,” if it’s mobilized in this way to herd viewers into spaces as demonstrably unsafe as movie theaters is a dangerous one. What if the “power of movies” could allow us to escape to another world from the safety of our own homes?

As the release date shifted from July to August to September, Warner Bros. has been pushing the narrative that Tenet would be released when it was safe for us to see Tenet. Deadline reported that Warner Bros. would be opening Tenet stateside only in those cities where “it’s seen that it’s safe to reopen.” It was also reported this week that COVID-19 hospitalizations where I live in St. Louis are approaching a record high. And yet, as early as Monday night, when sneak previews begin across the U.S., I’ll be able to go to the Galleria 6 or the Hi-Pointe or the AMC Esquire 7 and watch Tenet in an air-conditioned room full of people. It’s not safe. But here comes Tenet.

 

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TheLeon

TheLeon

Posted
Posted
4 minutes ago, skillzdadirecta said:

That doesn't sound like a movie worth risking your life over :lol:

Well of course, no movie is worth risking your life. That's why I went when I thought I would be in a nearly empty theater (and I was correct). 

 

But yeah, Tenet is just kind of a big shrug.

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Commissar SFLUFAN

Commissar SFLUFAN

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I Couldn’t Hear A Word Of 'Tenet' (And I’m Not The Only One)

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He has taken the same approach with Tenet, the time-twisting tale of a CIA agent who… well, I don’t know really. He runs around a lot and wears nice polo shirts under even nicer suits. I think he mentioned nuclear war at some point? I could barely understand a word of it, to be honest. Even when there were no explosions or masks or cod-Russian accents to get in the way, I felt like I’d been dunked underwater every time a character spoke. In my mind, that presents a problem when almost every piece of dialogue is exposition for a complicated plot that isn’t too invested in making sense to begin with. I walked into Tenet expecting to be confused, but not frustrated.

 

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Nokt

Nokt

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That was the biggest complain when our friends and us got out of the movie. I never had that big of a problem hearing what they were saying (looking at you bane), but it was absurdly noisy. Especially in places where nothing was even going on. 
 

I went in with no expectations, it was a fun flick, but nothing memorable. Wouldn’t watch it again.

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Guest

Guest

Posted
Posted
1 minute ago, Kal-El814 said:


The audio in his movies is so bad, he either doesn’t care even a little or he’s doing it deliberately. I don’t see a realistic third option. 

This is next level, man

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Brick

Brick

Posted
Posted
29 minutes ago, Kal-El814 said:


The audio in his movies is so bad, he either doesn’t care even a little or he’s doing it deliberately. I don’t see a realistic third option. 

 

Maybe Nolan is hearing impaired in some way, hasn't been tested, and doesn't know. 

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Brick

Brick

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14 minutes ago, Greatoneshere said:

 

That's what I was thinking, but surely he'd be aware of the comments on his movies about it at this point, but perhaps not.

 

Richard King has been his supervising sound editor since The Prestige,  so maybe part of it has to do with him. We'd have to listen to the other movies he's worked on to make sure, but as director Nolan has the final say, and it is weird that he wouldn't notice that the sound is off a bit.

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skillzdadirecta

skillzdadirecta

Posted
Posted
1 hour ago, Brick said:

 

Richard King has been his supervising sound editor since The Prestige,  so maybe part of it has to do with him. We'd have to listen to the other movies he's worked on to make sure, but as director Nolan has the final say, and it is weird that he wouldn't notice that the sound is off a bit.

It's intentional. Read his interviews on the subject. He says the same thing each time that in those instances he's going for an impressionistic experience regarding sound. He does care if you understand the dialogue all of the time... he wants you to FEEL something very specific. This is from the article @Emperor Diocletian II posted.

 

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but Christopher Nolan has enjoyed full autonomy over his soundboard ever since (a $1 billion box-office return will do that for you). Two years later, he responded to complaints about Interstellar’s muddled dialogue by arguing that he often favoured Hans Zimmer’s score over the meat and potatoes of the script. “I don’t agree with the idea that you can only achieve clarity through dialogue. Clarity of story, clarity of emotions — I try to achieve that in a very layered way using all the different things at my disposal — picture and sound,” he told the Hollywood Reporter. “I’ve always loved films that approach sound in an impressionistic way and that is an unusual approach for a mainstream blockbuster, but I feel it’s the right approach for this experiential film.”

 

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