Dan’s review published on Letterboxd:
Have watched about 6 times at this point and it only gets better. At this point it might be my favourite film of 2019, but I’d have to think about it.
I want to talk briefly about how this film is almost the opposite of Tenet.
I think both films perfectly represent how Tarantino and Nolan differ as filmmakers, but also how they’re both great in their own ways. Here we have a film in which the plot really takes a backseat, and where the focus is on the characters and their plights. Nolan’s latest foray is very much the opposite; focusing on plot and instead pushing character to the back.
Both films upon release were criticised for their lack of plot and character respectively, but personally I don’t think a film has to do both. I think both films are excellent in their own ways and they excel at what they choose to focus on.
The brilliantly-picked soundtrack full of 60’s bangers in Hollywood also contrasts Nolan’s preference for an OST in Tenet (and in general). They’re almost opposite puzzle pieces, yet I can find a lot of enjoyment in them both.
There seems to be this ongoing debate between who’s better: Nolan or Tarantino? And honestly I think it’s almost impossible to say. Not only are they about as good as each other, but they make such vastly different films. With that said, I’d argue that Tarantino is a better director than Nolan is a writer, so I’d probably give the edge to him. Not that it even matters.
I’m just glad we have two Goliath filmmakers doing two very different things. Between the two we get plot-focused films with giant spectacle, and movies which very much live and revel in the screenplay.
With all of this said, the pair also share a lot of similarities. They both value celluloid over digital, practical effects and original stories, and for that I’m truly grateful.
Sorry this isn’t a ‘proper’ review but I watched it last night and couldn’t help but notice the interesting ways in which it really does have the exact opposite priorities to Tenet.
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