Tenet

As a delivery system for the thrills, I think the film gets a long way, and you can kind of sit back and enjoy it. As a delivery system for the ideas, I think it trips itself up an awful lot.

Something like the epitome of [Nolan's] temporally twisty canon, distilling his many cinematic signatures and preoccupations down to their entrancing abstract essence.

[Christopher Nolan] is very clever, but mostly irritating is what I find. [His movies] are not cerebral - they're fake cerebral... He doesn't even do the time travel right.

I am a big fan of [Christopher Nolan's] films -- I usually enjoy the time puzzle of it -- but this seems even more intentionally inaccessible and challenging than everything else... Confusing, distancing, and chilly.

"Tenet" is indeed impressive, although I gave up trying to follow the plot.

"Tenet" is difficult to understand, but even worse, it inspires little desire to understand it.

The wildly inventive set-pieces are the highlights. Whether the car chase which crosses time barriers or the crash of the 747, the film is packed with bravura sequences.

Orson Welles’ assertion that a movie in production is the biggest train set a boy could have is routinely borne out by Christopher Nolan films, in which planes are wrecked with giddy glee.

Despite all of its issues in terms of plot and inaudible dialogue, Tenet is a reminder that nothing can quite beat the cinematic experience.

Every single thing you think you’ve known about the filmmaker—or even about this movie in particular—is rendered virtually useless.