It’s an Oscar season unlike any other. With an eligibility period and a ceremony delayed by two months due to the COVID-19 pandemic, it may be a long time before we see an Oscars year as uncertain as this. Major movies that may have figured into the race have been delayed, leaving a slate of nominees that would have been drowned out in other years.
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It’s meant as a bitter commentary about the nexus between capitalism, ambition, and the way we treat our elders. But the bitterness is so intense that it lingers after the credits roll, causing you to wonder if the movie accomplished much at all, besides its stylish presentation and strong performances.
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Fennell thus sweeps us along into a film that follows many of the beats of a traditional revenge film, but none of the violence. As cathartic as it may be to want Cassie’s enemies to get served more painful justice than they do, it’s clear that Fennell (who also wrote the screenplay) doesn’t want to tip her heroine into the kind of villainy she’s supposed to be fighting against.
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What Ruben desperately wants is a fix to his hearing loss - not unlike the other kind of fix he used to depend on. The grief he feels for the life he’s lost comes in waves. But in an echo of his past efforts to get clean, Ruben gradually adjusts to the strictures of the program and makes new friends. Unfortunately, he also offsets his progress…
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As good as the cast and the script are - setting aside how you feel about Oldman, 62, playing a 43-year-old - the setting and Fincher’s self-indulgent flourishes still make me hesitate before recommending it to everyone. If you’re a ride-or-die Fincher fan, or a committed listener of a film history podcast like You Must Remember This, climb aboard.
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The movie delivers a series of slapstick scenes with increasingly frantic stakes, and it’s a lot of fun to watch the fictional acting troupe carrying out their plans. But despite how often the film focuses on Kazuto and his condition, the bare sketch of its origins makes it hard to sympathize with him.
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Some credit has to be given to the filmmakers for the constraints they worked under: tight spaces, entry-level equipment, stringent health and safety protocols. But most of the stories still feel overly rushed, with unconvincing characters and scenarios that don’t rise beyond what’s been posted on platforms like TikTok or Twitter during this time.
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It’s the movie’s sound design and editing that makes you take notice; to try to replicate how autistic people process the world, amplifying and fixating on certain details, the filmmakers use extreme close-ups and precise, overwhelming sound mixing. The real experience of autism may well remain beyond what movies can convey, but this is the closest I’ve seen any project come.
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We’re treated (or perhaps subjected) to 60 minutes of non-stop social tension; think of the most intense moments of cringe comedy from a season or two of The Office, lined up into one wince-inducing package. No matter where Danielle goes at the gathering, she struggles to stay a step ahead of every fib she needs to tell - about her whereabouts that morning, her fake job as a babysitter, her program at school. The deeper the hole Danielle digs for herself, the more embarrassed we feel for her.
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Garrett’s troubles increase with the arrival of two enemies: the Japanese air force, and a thoroughly supernatural addition, a gremlin. Yes, perhaps I forgot to mention: Shadow in the Cloud is also a creature feature. In an homage to the 1963 Twilight Zone episode “Nightmare at 20,000 Feet”, starring William Shatner, Garrett is plagued by a bat/monkey-like creature that’s trying to tear the plane apart in mid-air.
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The first half of the season spends a lot of time laying groundwork. Whereas the first season was more character-driven, often choosing several characters per episode to focus on, now the show takes on a more plot-driven, serialized structure. There’s a trickle of information about Stormfront, and the side hustle she may be running to import supervillains into the country. There’s also a comic-relief arc running between episodes with The Deep (Chace Crawford), who has accidentally joined a sort of Scientology-like cult in Ohio.
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Many of the people in the nomad community couldn’t be happier. They are free to travel as they please, without the responsibilities that come with keeping up a piece of real estate. It’s a lot grittier than the manicured illusion of #vanlife on Instagram - a quick scene lays out the benefits of different sizes of toilet buckets - but it’s the most free you can be without becoming a totally off-the-grid hermit.
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Like either of the two previous movies, the more you think about the details of the time travel, the less sense it makes. This is, after all, the series where characters randomly exclaim “Station!” as a catchphrase, an incredibly dense in-joke from a deleted chunk of the second movie’s screenplay. Somehow, the movie doesn’t need a trim, rules-bound universe - it gets by on sight gags and performances alone.
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With Tenet, Nolan presents his most brain-liquifying examination of time yet, “inversion”. In his earlier movies, Nolan’s playing around with time was wild but still largely comprehensible on first viewing. In the nested dream worlds of Inception, it’s easy to grasp how time slows down the deeper in the dream you travel. But in Tenet, the physics are so surreal we might as well be sipping coffee in the Black Lodge on Twin Peaks.
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Given the huge range of results, it gets harder to believe that anyone would actually take the stuff. The extent of the movie’s commentary about drug epidemics is “they exist.”
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