Kritiken

The scale of its spectacle suggests innovation; but Nolan's combination of the reverse motion with the cross cut, which he's dressed with trivial exposition, has all been done before.

One has to admire that Nolan just goes for it with his no-holds-barred approach, which results here in the destruction of a jumbo jet for a plot thread that really doesn't make sense. Perhaps in that way this is a movie for the moment: it doesn't cohere, but neither does anything anymore.

Trying to understand a movie is one thing, but trying to feel it is another. It’s still hard to say whether Tenet is really worth the effort.

For me, Tenet is preposterous in the tradition of Boorman’s Point Blank, or even Antonioni’s Zabriskie Point, a deadpan jeu d’esprit, a cerebral cadenza, a deadpan flourish of crazy implausibility – but supercharged with steroidal energy and imagination.

Seek it out, if only to marvel at the entertainingly inane glory of what we once had and are in danger of never having again. Well, that and the suits.

Nolan ups the ante on “Mission: Impossible” by making the impossibility not just physical but quantum physical. And he goes about it expertly, bullishly and with giddily perverse intent to bewilder.

It’s a big, brashly beautiful, grandiosely enjoyable movie that will provide succor to audiences long-starved for escapist spectacle on this beefy, made-for-Imax scale.

Nolan’s screenplay quickly spirals into baffling incomprehensibility via enigmatic talk of inversions, paradoxes and parallel realities.

I watched the movie twice for this review, and still feel very confused about what is supposed to be going on and why. Even more baffling than the why is the how, the fictional physics of inversion.