Tenet 2020 Movie Sinhala Subtitles

Armed with only one word—Tenet—and fighting for the survival of the entire world, the Protagonist journeys through a twilight world of international espionage on a mission that will unfold in something beyond real time.

LONDON — Maybe it is our collective enslavement to the superhero-industrial complex, but right now the movie world is looking for a savior. If it turns out to be Christopher Nolan, it wouldn’t be the first time: Films of his, like “Inception,” “Interstellar” and “Dunkirk,” have, in years past, “saved” summers, reputations, studios. His “Dark Knight” trilogy sure saved the Warner Bros.-DC partnership — in fact possibly he saved that a bit too hard, with franchise filmmakers ever since toiling in his shadow. Can Nolan save cinema from the coronavirus, its deadliest foe yet? Perhaps, if Covid-19 can be tripped up by the grandfather paradox or has a hitherto undiscovered weakness for sharp tailoring.

The hotly anticipated “Tenet,” opening Aug. 26 in some international territories and Sept. 3 in the United States, is reassuringly massive in every way — except thematically. Ideally presented in 70-millimeter Imax, Nolan’s preferred, towering aspect ratio, arrayed with the telegenic faces of a cast of incipient superstars, gorgeously shot across multiple global locations and pivoting on an elastic, time-bending conceit (more on that later/earlier), the film is undeniably enjoyable, but its giddy grandiosity only serves to highlight the brittleness of its purported braininess. This would hardly be a criticism of any other blockbuster. But Nolan is, by several exploding football fields, the foremost auteur of the “intellectacle,” which combines popcorn-dropping visual ingenuity with all the sedate satisfactions of a medium-grade Sudoku. Within the context of this self-created brand of brainiac entertainment, “Tenet” meets all expectations, except the expectation that it will exceed them. Forgive the circularity of this argument: it’s a side effect of watching the defiantly circular “Tenet.”

With unforeseen irony, the film, which will be largely be shown in limited-capacity theaters, begins in a packed auditorium. It is an opera house in Kyiv and it is being held up. One of the attackers, superbly played by John David Washington, reveals himself to be a C.I.A. agent who has infiltrated the operation to rescue an asset, when a curious thing happens. A bullet, fired by an unknown ally, reverses out of a nearby seat, the wood around the bullet hole desplintering. Scarcely has the agent time to wonder, palindromically, “Huh?” when he is distracted by having to save hundreds of civilians from certain death.

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