Tenet - "Don't Try to Understand It."

Enough temporal pincer movements have been made that I can now finally write about my favorite film of 2020: Tenet. If you can’t tell from the sporadic output of my site in general or the films covered in that sporadic output, I don’t write about new films very often. I watch nearly everything throughout the year (mainly thanks to the screeners I get during awards season), but I decided a while back to not write lengthy immediate thoughts about new releases. I think a film needs time to be truly great. As I scan through my top ten lists from the past, I constantly come across movies I forgot entirely; how could something forgetful be one of my favorite films of the year? So while the rest of the world tries to be faster, I decided to go slower and come back to films I love after some time to see if that initial spark led to an actual fire. Aptly enough with Tenet, I started off loving it, went through some confusing rewatches, and ended up right where I started. I love this indecipherable (at least, for me) movie.

On top of time, rewatchability is a big factor for me, as well. I wouldn’t think that Tenet, a film that demands your undivided attention, would be very rewatchable for me since I tend to like to put on movies as background noise at home. But somehow Tenet is a film I don’t mind catching twenty minutes of before I fall asleep, or watching the first temporal pincer movement scene while putting away laundry. It all comes down to the Protagonist’s (more on his namelessness later) meeting with the scientist when she simply tells him, “Don’t try to understand it.” I truly believe this is Nolan speaking directly to the audience.

Normally, a director telling you to essentially “not worry about it” when it comes to a severely complex plot would be a red flag. But I trust Nolan. I’m sure he put in the work, and all of this shit probably adds up if you stop and break it down moment to moment. I usually want to break down complex movies, especially in the sci-fi genre, but I don’t want to fully understand how certain scenes work in Tenet. I just want to enjoy the chaos. 

This wasn’t the case at first. After my first viewing, I loved it, but I immediately started watching it again because I didn’t know what the fuck was going on during the major action set pieces. After multiple viewings didn’t clear things up much, I went to YouTube and watched dozens of breakdown videos that featured diagrams and shit about how it all worked. At some point during that evening, I had Tenet figured out. I have since forgotten most of it, though, because it turned out I didn’t care. 

Homework should not be a part of the viewing experience. And I don’t think Nolan wanted his audience running to YouTube for breakdown videos after the film was over so someone could hold their hand and explain what they had just watched. Instead, he probably wants you to just watch it again (by the way, I know I’m assuming I know what Nolan thinks quite a bit here, but, you know, don’t worry about it). So that’s what I do everytime I come across Tenet in my collection and realize I can’t remember exactly what was going on in a lot of it; time to try again.

Continuously watching Tenet to try to understand it a bit more could be infuriating if the film wasn’t so enjoyable on a cinematic level. The amazing score cements the whole affair, blaring over dialogue (that I wouldn’t understand anyway) while complex time heists and shit occur. The backwards fighting and driving looks great and kind of funny at times (that weird part when the Protagonist is shimmying on the floor after a gun comes to mind). Everything is done big and fast, like a conversation that could have happened during a dinner instead happens while the characters pilot wacky boats I didn’t even know existed. And the cast is naturally charismatic enough that I don’t care if I understand what they’re saying. John David Washington, Aaron Taylor-Johnson, and Robert Pattinson could babble about temporal pincer movements the whole film, and I would be captivated. The whole thing is like a well-made James Bond film that doesn’t give a fuck if you understand why the world is being saved.

Which brings me to the Protagonist. It’s easy to shit on this movie by claiming that there is such little character development that Nolan didn’t even bother naming his main character. But I saw it as a commentary on these kinds of films in general. Yes, we all know the names James Bond and Ethan Hunt, but who are those guys when they’re not saving the world? Bond has all that fucking and drinking, I guess, but Hunt doesn’t even have that. They’re just protagonists that we follow while they globe-trot doing cool shit. Since this isn’t a franchise, why bother giving the Protagonist a name that we’ll forget before the credits are over? And it’s not as if there aren’t natural moments when a name could be given. Multiple times the Protagonist is introduced to a new person who provides their name (like a human would do), but when it comes time for him to say his name, the Protagonist instead brings up the next plot point. “Nice to meet you, I’m Neil.” “Who gives a fuck? Now how do we get into that arms dealer’s compound?” It’s comical; the most intimate detail we know about the Protagonist is that he drinks Diet Coke, and even with that, we only find it out as a clue that Neil has already met the Protagonist in the future.

The Protagonist doesn’t have time for any pointless character-building because he’s in an action movie, and it doesn’t matter. He needs to save the world. This means he’s a good guy. End of story. This is Nolan deciding to skip emotion (his detractors think he does that in every film anyway, though they’re only right half the time), and just give the audience a pure action film. Everything is done to move the plot forward. There’s no time for character development because the future is trying to end the fucking world. Time is doubly precious when some shit is moving forward while other shit is moving backward. 

Or maybe I’m just a Christopher Nolan fanboy. Where others find fault I see genius. I am a Nolan fan, that I cannot deny. But finding hidden strength in obvious weaknesses is what I do when I love a movie, no matter the director. It’s what I love about watching movies in general, or at least movies that affect me as much as Tenet has. This one is special to me because it has many elements I would typically hate in a movie, but in this instance they enhance my enjoyment, even years later. As it turns out, “time isn’t the problem” when it comes to me and Tenet, and I plan on revisiting this one many more times in the future, even if I know it will leave me confused. It’s like performing a temporal pincer movement on myself. Or maybe not. Still not sure how those work…

Top Ten of 2020

Most people have a sarcastic reaction to top ten lists for the films of 2020, what with theaters mostly shutting down, and the whole state of the world. For me, my movie-watching didn’t change all that much actually. I got to see The invisible Man early in the year, and that was pretty much it. Having two small children and working a shift job made trips to the theater very rare. That written, I love going to the movies, and I certainly hope I get to do so again sometime this year.

As for movies in general, there were still a ton of films released in multiple ways. A few went to theaters, a lot were made and released by the streaming heavies (Netflix, Amazon, Hulu, etc.), and plenty of others were released on home video earlier than planned. Yes, a lot of very anticipated films were pushed into 2021 (Dune was the release I was most looking forward to, and I expected it to be one of my favorite films of the year), so it may seem like few films were released. I get it, and I felt that way, too, before all the screening links started showing up in my e-mail inbox. 

I got burned out by the end of it, but during late November through December I was able to watch over fifty films (to go along with the releases I already watched throughout the year). Before this year's screeners showed up, I was struggling to come up with a top five, much less a top ten. But now I have more than enough favorites for the year. 

As always, this is my list of my ten favorite movies, not the ten best movies. For reasons I’ll get into with each choice, these films worked for me, and, most importantly this year, distracted me from the real world. So here goes, and please, for those of you who found my number one pick incomprehensible, emotionless, and/or boring, just read my explanation and check out the rest of my list.

Lastly, all but two (Nomadland and The Father) of these films are currently available on different platforms (I’ll make a note of where each one is available). My point is that it may seem like nothing new or good came out in 2020, but a lot did; you just have to look for it.

1. Tenet

Christopher Nolan has become more and more polarizing over the years, with many complaining about his overly complicated plots, his underdeveloped characters, and his sound editing that favors the score over the dialogue. Tenet seems to be his middle finger to every one with those critiques as he heartily embraces all three of them. Tenet is very hard to follow, both because of its time-travel plot and loud score that drowns out the dialogue at times, and many won’t care to figure it out because the characters aren’t worth caring about (the main character, for instance, is literally just called the Protagonist). 

I understand and agree with this criticism, and I don’t care. For whatever reason, Nolan’s films work for me, and Tenet is no different. My best access to this film has been through a screener app that allows me to download it (when I tried casting it to my TV there was always lag), so I’ve had to watch this on my phone, and I hate watching movies on my phone. I’ve watched it four times...so far (but I do plan on buying it soon, so my experience is moving up a bit). That’s how much this film drew me into its confusing world. During my first viewing, I was so lost that I considered turning the movie off. But by the end, I wanted to immediately watch it again, so i could try to completely understand what was happening during the pivotal scenes. This was my Zapruder film of 2020.

In a typical year, Tenet would make my top ten, but probably wouldn’t be my number one. But this year required extra distraction. Typically, I have to see a movie in the theater to become completely engulfed in it, but Tenet did it through my phone. Maybe Nolan didn’t need to make the movie so hard to follow, but for me, it was exactly what I needed this year.

(Tenet is available to rent or own on most streaming services.)

2. Another Round

The premise for this Danish film won me over before I even started watching it: four high school teachers test a theory that humans are meant to be at a constant blood alcohol level of .05 to reach their full potential. What made this one of my favorite movies of the year is how writer/director Thomas Vinterberg handled the material. It could have easily and predictably turned into a depressing slog. Yes, bad things happen (how could they not with such a premise?), but overall, Another Round addresses alcohol in society in a realistic and fresh way. Yes, alcohol is bad for you and will likely lead to bad things, but as a species we tend to embrace its uses. Mads Mikkelsen’s great performance (my favorite of the year) elevates it even further.

(Another Round is available to rent or own on most streaming services, but it is a little pricier than most movies at the moment.)

3. Da 5 Bloods

Spike Lee has been a groundbreaking filmmaker from the beginning, but it’s his last two films that have really worked for me. He does whatever he wants, which makes his film’s unpredictable and entertaining. It also helps that he’s tackling an issue that has rarely been the focus of an entire film (African Americans in the Vietnam War). And an amazing cast (including standout Delroy Lindo, who has a very good shot at an Oscar this year) puts it over the top.

(Da 5 Bloods is on Netflix.)

4. Palm Springs

It’s like Groundhog Day but funnier. I know that’s sacrilegious to the Murray fans out there, but I can’t help it. This movie, about a cuckolded boyfriend (Andy Samberg) who keeps reliving a miserable day as a wedding date, rises above the inevitable comparisons to the Bill Murray movie to be one of the funniest films of the year. 

(Palm Springs is on Hulu.)

5. The Nest

Mood is always a major factor when it comes to choosing my favorite films of the year, which is why The Nest made the list. The film has the feeling of a haunted house movie (and it kind of is), but it never commits to it. Instead, it takes that mood and focuses on the destruction of a family. This is one of the movies on my list that I know a lot of people will hate or just find boring, but it worked for me. And Carrie Coon is great as always.

(The Nest is available to rent or own on most streaming services.)

6. The Vast of Night

This was the biggest surprise of the year for me. It just kind of showed up on Amazon in the middle of the pandemic. I wasn’t excited about many movies at this point in the year, and I decided to check this out one afternoon. It hooked me immediately. I loved the 1950s Twilight Zone style but with sharp dialogue. It’s mysterious, funny, and criminally underseen.

(The Vast of Night is on Amazon Prime.)

7. First Cow

This is another movie I’m sure many will find boring, but I loved. I understand. It’s about a friendship formed at a fur trading outpost that forms because they start making cakes using stolen milk from the area’s first cow. I know, I know. But films about friendship work for me, especially when they take place in the American West in the 1800s. It is definitely a niche genre, but this is why I liked The Sisters Brothers so much back in 2018.

(First Cow is on Showtime and can also be rented or owned on most streaming services.)

8. Nomadland

This is the front runner for awards season (it took top prize from the critics group I belong to, the Indiana Film Journalists Association), and rightfully so. Writer/director Chloé Zhao continues to impress (after her previous film, The Rider) with this look at a lifestyle I didn’t even know existed (van life). Using real people of that world and a handful of actors, Zhao captures the lifestyle in an extremely realistic fashion. Frances McDormand’s performance is perfect, as well. If not for the few famous faces involved, Nomadland could pass as a documentary, which is definitely a compliment.

(Nomadland will be released on February 19 in theaters and on Hulu in support of a ton of expected Oscar nominations.)

9. Athlete A

Speaking of documentaries, it seems like I have to include one each year now on my top ten list (last year was the first time I included one: For Sama). Perhaps I just feel the need to include documentaries that bring me to tears. Athlete A certainly affected me in that regard. It tells the story of the years of abuse by a doctor in the USA gymnastics program. I had read about it when the story first broke, but seeing and hearing the victims and others involved makes the horrible abuse even more real. This is a story that needs to be remembered beyond its few weeks in the news cycle. Thanks to Athlete A, it will be.

(Athlete A is on Netflix.)

10. Mank

David Fincher’s film about the writing of Citizen Kane was a disappointment for many, and I understand any criticism that claims the film is boring. But I found the world it created to be fascinating. Since it’s on Netflix, I find myself rewatching it when I can’t find something new to watch because I just enjoy disappearing into the world of old Hollywood for a little bit. In any other year, that alone might not have allowed Mank into my top ten, but as I stated earlier, escapism was most important to me in 2020, so Mank makes the list.

(Mank is on Netflix.)

Honorable Mentions

Soul - Pixar movies just work for me. This one might not go down as one of the greats, but I enjoyed it quite a bit.

(Soul is on Disney+.)

Song Without a Name - This is the film I wish Roma had been.

(Song Without a Name is available to rent or own on Vudu and Amazon.)

The Devil All the Time - Worth watching for the performances alone.

(The Devil All the Time is on Netflix.)

Sound of Metal - Riz Ahmed is great in this, and the film does a great job of conveying what it would be like to lose your hearing.

(Sound of Metal is on Amazon Prime.)

Uncle Frank - Watch this instead of Hillbilly Elegy. 

(Uncle Frank is on Amazon Prime.)

Ma Rainey’s Black Bottom - This film has so many great performances. Also, I just like August Wilson’s play. This and Fences could just be called That Escalated Quickly. Every conversation just gets so amped up that it gives me anxiety...in a good way.

(Ma Rainey’s Black Bottom is on Netflix.)

The Father - This is one of those films I would never recommend. It’s about a man (Anthony Hopkins) succumbing to dementia. It’s a tough watch, but it makes my list because Hopkins is amazing in it.

(The Father will be released on February 26.)

I’m Thinking of Ending Things - Writer/director Charlie Kaufman delivers another completely original film. It’s a little mind-bendy, but it’s not nearly as confusing as the first responses to it made it seem.

(I’m Thinking of Ending Things is on Netflix.)

The Trial of the Chicago 7 - An informative and entertaining look at a time in this country that is unfortunately not much different than the present. It also has one of the best ensemble casts of the year.

(The Trial of the Chicago 7 is on Netflix.)

Alone - Straightforward and effective thriller from the director of the last two amazing Universal Soldier movies. Seriously.

(Alone is available to rent or own on most streaming services.)

On the Rocks - I could watch Rashida Jones and Bill Murray hang out for the entire movie. Their strained father/daughter relationship makes the movie.

(On the Rocks is on Apple TV+.)

Okay, that’s it. There are plenty of other movies, particularly documentaries, that I could list here, but enough’s enough. 

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