All very clever – except it’s humans watching the film. Then there was Denis Villeneuve’s Arrival, a film whose key plot point, much like Tenet’s, hinged on a conception of time alien to the human brain. “If you travel back into your own past,” explained one, “that destination becomes your future, and your former present becomes the past, which can’t now be changed by your new future.” Bill and Ted, it ain’t. Things reached their peak last year when the biggest grossing film of all time, Avengers: Endgame, had its heroes cite – and dismiss – a raft of classic sci-fi capers while plotting out their elaborate masterplan. Nolan could even be argued to have started the fad: since Interstellar (for which his co-writer and brother Jonathan studied relativity at the California Institute of Technology) we’ve had Synchronicity, Time Trap, In the Shadow of the Moon and the forthcoming Volition – all of which demand serious mental gymnastics in order to keep up with the plot. Moviegoers could be forgiven for feeling a certain sense of deja vu: Christopher Nolan’s film is part of a growing trend for blockbuster plotlines that unpick time-travel and all its implications in head-spinning detail. Freewheeling charm … Cleopatra Coleman in In The Shadow of the Moon.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |