Whether or not you have been able to see Tenet yet, take a walk down memory lane to see how all of Nolan’s films rank according to the reviews they received from EW. The only exception is Nolan’s 1998 debut feature Following, which was not reviewed by EW
Nolan has for all intents and purposes conjured the British response to Steven Spielberg’s Saving Private Ryan. If you can imagine that film’s kinetic, nerve-wracking 29-minute opening D-Day invasion stretched out to feature length, this is what it would look like. It’s a towering achievement, not just of the sort of drum-tight storytelling we’ve come to expect from the director of Memento, The Dark Knight, and Inception, but also of old-school, handmade filmmaking
Batman Begins, directed by indie-oriented storyteller Christopher Nolan (Memento), is a triumph — a confidently original, engrossing interpretation, with a seriously thought-through (but never self-serious) aesthetic point of view that announces, from the get-go, someone who knows what he’s doing is running the show, and he’s modestly unafraid to do something new. The movie reenergizes Bruce Wayne and his winged mammalian disguise for a 21st-century relaunch, after the Hollywoodized Caped Crusader had giggled and vamped to a dead end with 1997’s Batman & Robin.“ —Lisa Schwarzbaum
Heath Ledger’s mesmerizing, scary-funny performance begins with the creepiness of his image: the greasy long hair, the makeup that looks as if he’d drawn it on with crayons, then messed it with tears. That ghostly rotting paint job covers his scarred smile (explained by a backstory that gives you the willies, even if he just made it up), and the disturbing thing is that when Ledger’s Joker talks, with those ”Ehhh, what’s up, Doc?” vowels that make him sound like Al Franken crossed with a nerdish pedophile, you realize that the icky sloshing sound you hear is him sucking on his cheeks; he uses his attachment to those scars to fuel his sadistic (and masochistic) whims. This Joker may be a torture freak, but he also has a lost quality, a melancholy hidden within those black-circled eyes. He turns slaughter into a punchline; he’s a homicidal comedian with an audience of one — himself. In this, the last performance he completed before his death, Ledger had a maniacal gusto inspired enough to suggest that he might have lived to be as audacious an actor as Marlon Brando, and maybe as great.
With New York, Los Angeles and San Francisco movie theaters still not open, our exhibition sources are hearing that Warner Bros is apt to move Wonder Woman 1984 again, this time out of its current October 2 date to either sometime in November or possibly to late December. That would bump the studio’s Legendary feature Dune out of its December 18 weekend to sometime in 2021.
Tenet is another reason why Wonder Woman 1984 won’t be able to go during the first weekend of October. With sources currently estimating that New York and Los Angeles won’t open movie theaters until early October/late September, the Christopher Nolan movie will still need to make a big splash in those markets, or at least make its best effort. Having Wonder Woman 1984 in Tenet‘s way won’t help its hopeful domestic tail at the box office.
Exhibition has been pretty much expecting the Wonder Woman 1984 release date change, so they’re not crying over lost money yet — as long as they get the movie. However, for reopened movie theaters it does create a hard time as there aren’t any major movies opening for a while. The question will be who can back-fill that October 2 hole slot in three weeks’ time — and can it even be a big movie? Maybe Paramount’s A Quiet Place II, but the studio would need to move quick.
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