TIME TO KILL
AS WITH ANY supersized spy yarn, the stakes in Christopher Nolan’s Tenet are global and sky-high. On screen, our heroes are fighting to save us from a reality-melting apocalypse. Beyond the screen, Nolan’s out to reboot cinemagoing itself, staring down a pandemic that has closed the world’s communal dream palaces and seen other blockbusters surrender their release dates. It’s the kind of mission even Bond or Ethan Hunt might baulk at.
Tenet aims to resurrect the theatrical experience with an adrenalin stab of pure cinema: inventive, muscular set-pieces, continent-spanning glamour, daredevil world-savers and planet-threatening bastards. Speedboats. Natty tailoring. And enough theoretical physics to fry your skull.
“He wanted to make a film that would give audiences the same feeling he had when he was a kid watching the big action movies,” says Emma Thomas, Nolan’s wife and production partner.
