Christopher Nolan’s fascination with time as a storytelling variable is well-documented throughout his filmography. In his breakout indie hit Memento, the story of John G and his murdered wife ran backwards with consecutive scenes taking place before what we have just watched; with Inception, dreams within dreams meant that different levels of the film’s universe occurred at different speeds creating a kind of temporal layer cake; and most recently, Dunkirk saw a major military event unfold over land, sea, and air in a matter of a week, a day and an hour, respectively, the various timelines intersecting and blending into one another. And the less said about Interstellar, wherein Nolan got all mushy over time and love, the better. This obsession with time as a resource and narrative centerpiece has finally gotten the best of Nolan in Tenet, an overblown blockbuster absolutely suffocated by tricks, bloated by exposition and wholly lacking in a human touch.  Read More