Lightyear (2022): Star Wars Meets a Family Friendly Interstellar in This Beautifully Animated Pixar Spinoff

“Lightyear” is directed by Angus MacLane, a Pixar insider who has helmed multiple animated shorts and made his feature-length debut with 2016’s “Finding Dory.” That feature, by the way, is frankly better than its Nemo-centric predecessor. There is no changing my mind. “Lightyear” stars Chris Evans as the titular space ranger, providing for a fresh take on the iconic role once helmed by Tim Allen (Last Man Standing, Home Improvement). Joining Evans is a cast including Keke Palmer (Scream Queens, Hustlers), Peter Sohn (Ratatouille, Monsters University), James Brolin (Westworld, The Amityville Horror), Taika Waititi (Thor: Ragnarok, Jojo Rabbit), Dale Soules (Orange is the New Black, The Messenger), Mary McDonald-Lewis (G.I. Joe, Archer), Efren Ramirez (Crank, Napoleon Dynamite), and Isiah Whitlock Jr. (Your Honor, The Wire) in a spinoff to the “Toy Story” universe… Sort of.

“Lightyear” is a film that Andy, a character known in “Toy Story” lore, loved as a child. It was his favorite movie, and therefore, we find out the reason why he has a Buzz Lightyear toy is because of this movie. Andy’s favorite movie, which is what we, the audience, are treated to, is about a young Buzz Lightyear trying to find a way to get his crew home after being stranded on a planet for an extended period. Turns out time is not the only enemy in Buzz’s path as he must survive against an army of robots commanded by Zurg.

Pixar is the pinnacle of animation today. I genuinely look forward to just about everything they do, even though most of their marketing campaigns do not sit well with me. But in the end, it is about the movie. Similar to the cliché saying that it is not about the outside, but the inside, Pixar proves that it is not all about the trailers for their films, which usually are unmemorable or do not prompt enough reason for me to watch them, but instead the films that were previously advertised, which are sometimes masterpieces. “Inside Out” to this day is one of the few movies that made my eyes water. “The Incredibles” is an action-packed, thrilling adventure that is secretly the best on-screen adaptation of “Fantastic Four.” “Cars” is fun, colorful, exciting, and has a wonderful soundtrack. The Pixar library is one of the best in film history, animated or not. This is why I was worried, years ago, when I found out we would be getting a “Toy Story 4.”

Despite my apprehension, “Toy Story 4” turned out to be an entertaining, joyful movie that not only presents itself as a surprisingly welcome addition to the franchise, but shows that Pixar can present some of the most realistic-looking animation ever put to screen. There is a scene with a cat from “Toy Story 4” that I continue to ponder over to this day…

Now we have “Lightyear,” which is not exactly a “Toy Story 5,” but a fictional universe within another fictional universe. I will admit, as desperate of an idea as it may sound, I like the concept. Because in our world, we have our beloved stories. In the science fiction genre, “Star Wars,” “Star Trek,” and “Back to the Future” are some of the first examples that come to mind. This movie begs the question, supposing that a movie such as “Star Wars” does not exist in the “Toy Story” universe, “What is Andy’s ‘Star Wars’?”

Like the opening text suggests, this is that movie.

But just because Andy likes this movie, does not mean I will. So, what did I think of “Lightyear?”

You know how I mentioned that Pixar often flubs its trailers or makes them less appealing than others? Here is a crazy coincidence, I thought the trailers for “Lightyear” are easily the best Pixar has ever done. I thought their goal with the movie was clear, the footage we got with SOX was charming, and the space scenes looked gritty and eye-popping. Unfortunately, for Pixar standards, this is towards the lower tier.

Now, this is not as bad as “Luca,” but I thought Pixar’s previous outing, “Turning Red,” was a bit better. I think part of it has to do with the unique, dynamic nature of the film that I have not seen in any other Pixar story before. “Lightyear” feels like it blends the vibes of “Wall-E” with “Star Wars” and “Interstellar.” Some of you reading this likely know who I am, and think I am going crazy. I adore “Wall-E,” I love “Star Wars,” and if I could legally marry a movie, “Interstellar” would probably be getting the ring.

I will say the same thing about “Lightyear” that I said in regard to “Space Jam: A New Legacy,” a movie that heavily relies on inserting crossovers and references to the Warner Bros. library. One difference between “A New Legacy” and “Lightyear” is that “Lightyear” is a completely watchable, entertaining film. Imagine that! But one thing I will note about “Lightyear,” even though it is nowhere near as obvious, is that it seemingly pays tribute to other stories, most notably “Star Wars.” The relationship between Buzz Lightyear and Zurg in this film is almost reminiscent of Luke and Vader in “Star Wars” at times. Although that does make sense because if you watch “Toy Story 2,” there is a scene in that film with the toy versions of the characters that is almost done in the same style as a key scene from “The Empire Strikes Back.” With that in mind, I would rather watch Luke and Vader duke it out in “Empire” than watch any of the scenes between Buzz and Zurg in “Lightyear.”

Let’s talk about Chris Evans as Buzz Lightyear. I have mad respect for Evans as an actor, because in one moment he can carry a blockbuster in the Marvel Cinematic Universe, and in the other, he can come off as the most delightfully charming of morons in “Knives Out.” Evans has unbelievable range as an actor, so I was excited to see what he could do as the Buzz Lightyear character. Yes, I know that this technically means that Tim Allen is not voicing Buzz Lightyear, but let me remind you that this is not the Buzz Lightyear toy and instead, a man that inspired the toy. Evans’s raspy voice fits the character and is proper enough to make him come off as this universe’s Han Solo. Again, this is basically “Star Wars.” This movie pictures Buzz as a determined, manly, roguish individual who will not stop until he “finishes the mission.”

As suggested in the title, “Lightyear” is essentially a family friendlier take on Christopher Nolan’s “Interstellar.” While not as complex, the science fiction angle tends to border between realistic and fantastical. It’s believable, but it also makes us wonder what undiscovered portions of our own universe could look like. Plus, the concept of “Interstellar” involves one man trying to find a new home for humanity. The reverse is happening in “Lightyear” where one man tries to get people back to where they personally call home. And much like “Interstellar,” this movie has a somewhat mixed cast of sidekicks, including robots.

Once we get into the meat of the film, we meet a set of sidekicks who may talk a good game but when it comes to action, that is lackluster in comparison. I like this concept, partially because it is relatable, but I also dislike it. I will start with the dislikes first, because they are not as in depth.

The sidekick characters of “Lightyear” are at times, some of the most annoying, disposable characters ever created in Pixar history. As much as I like Taika Waititi, the writing for his character of Mo Morrison (top left) ranges from stupid to cringeworthy. Sometimes both. I have nothing against Waititi himself, he took the words written on the page and portrayed them as accurately as he could, but his character was written in such a way that could have made him a lovable idiot, but given the context of certain things, I do not think “lovable” would be the right adjective to use here. The movie “Lightyear” convinced Andy in the “Toy Story” universe to own a Buzz Lightyear toy. I can see why he probably begged his mom to buy a Buzz Lightyear toy instead of Mo Morrison or one of the other supporting characters. I have heard worse dialogue in my life, but here, it either feels cheap or annoying. Sometimes it works, but the times it did not work stuck out to me like a sore thumb.

With the negatives out of the way, I do want to talk about this idea that the movie goes for. “Lightyear” is a fun film, like many Pixar movies. But also like some Pixar movies, it could occasionally tug the heartstrings. There is a well-executed montage in this film that some would compare to the famous few minutes in “Up” where we witness the life of Carl and Ellie. It is some of the best editing I have seen all year. That is this film’s earliest example of showcasing the inevitability of failure. Many of us, including myself, have been through a portion of our lives where we question whether what we are doing is worth it. Whether we are good enough. Sometimes we do not have access to an opportunity, and in others, we do not even know where to start. I have taken one or two classes during my college years where these thoughts have come up.

Despite their slightly offish writing at times, I like the concept behind the characters of Izzy Hawthrone (bottom left), Mo Morrison, and Darby Steel (top right). They are flawed, but that is also what makes them work. Hawthorne spends much of the movie worrying about her legacy. How is she going to live up to her grandmother’s expectations? Mo Morrison never spills the beans on this, but he almost felt like this movie’s representation of the phrase “fake it until you make it.” You may not know something, you may not be good at something, but you might as well do that something until you know you can call yourself a master. Darby Steel’s main goal of the movie is to shave some time off of her sentence, and to do so, she needs to go on the mission with the rest of the crew. I like the idea of having these significantly unconfident, arguably incompetent, characters play major roles like the ones they do in the film. I just wish they were written or portrayed in a slightly less annoying manner. Although there was one recurring gag involving Mo Morrison with a pen that had its moments.

If I had to be honest, the best sidekick in the entire film is SOX (right), a robotic feline whose goal is to assist Lightyear with his various needs. This assertion should not come as much of a surprise. My favorite Pixar supporting character that comes to mind is also a common household pet, specifically Dug, the comic relief dog from “Up.” While SOX is no Dug, he does have his moments to shine in the spotlight. His writing feels logical for a typical robot character, but in robot speak, he somewhat reminded me of TARS from, again, “Interstellar.” While SOX in this case does not come with “humor settings,” he has some occasional lines that are not necessarily jokes that got a laugh out of me. It is nice when robots know what makes humans tick. He is wonderfully voiced by Peter Sohn, a talented voiceover artist who previously lent his utterances to Emile in “Ratatouille.”

This almost seems unfair, because “Lightyear” from start to finish, between the concept, execution, and everything in between, is practically a different movie than any of the “Toy Story” installments we have gotten. While “Lightyear” is by no means a bad film, it is no “Toy Story.” If I had to be real, I think even “Toy Story 4,” a film that like this one, I probably never asked for, is a better movie. I think the adventures of Buzz Lightyear, the toy, are more entertaining and joy-filled than “Lightyear.” It pains me to say that because this film reminded me of a couple great science fiction stories here and there, it had a couple halfway decent characters, the animation is some of the most stunning I have EVER seen. I think the best thing about this movie is that if you have young children and you want to give them a proper gateway into science fiction, “Lightyear” is a solid option before showing them movies like “Interstellar” or “Gravity.” But much like what I said with “The Empire Strikes Back,” I think I would rather watch the “Toy Story” films again on a Friday night before “Lightyear.”

I did see the film twice in the theater, but it was partially because I wanted to see how they handled the supersized 1.43:1 IMAX aspect ratio, which I can confirm made the film pop like few others. I liked the film enough to see it a second time for that, but maybe not a third time.

In the end, “Lightyear” is a decent science fiction movie, but for the standards of Pixar, I would put this with “Onward,” which is not a bad film. But for the standards of a studio as incredible as Pixar, that is not the best comparison to make. To shoot for “Onward” is not enough for them. Pixar genuinely makes some of the best animated movies, but this is not enough to join the greats. Although I will remind you, there are many studios out there, many filmmakers out there, that would kill to make a movie as good as a lower tier Pixar film. I still have yet to see a flat out awful movie from the studio. Hopefully that day never comes. I have faith. “Lightyear” is definitely worth seeing in the theater, especially in IMAX. The spectacle is insane. There are some truly colorful, vivid, detailed scenes that will definitely drop jaws. Although I left the film thinking to myself that I should probably rewatch a couple other films instead of this one. I am going to give “Lightyear” a 7/10.

“Lightyear” is now playing in theatres everywhere, and do yourself a favor, if there is a true IMAX theater near you, buy a ticket for “Lightyear” and go watch it in that theater. Major shoutout to the Jordan’s Furniture in Reading, Massachusetts and their amazing laser projection system for providing me with an epic movie experience. Tickets are available now.

Thanks for reading this review! If you enjoyed this review, check out some of my other ones! This month I did reviews for “Everything Everywhere All at Once” and “Hustle.” If you want to stick with the “Lightyear” theme, check out my thoughts for “Toy Story 4.” My thoughts have admittedly changed on the film a little since my review, but if you want to check out my first impression, here you go! If you are interested in long-form content, check out a recent five-thousand word post I did on why I cannot stop watching “Belle,” the new anime directed by Mamoru Hosoda. If you want to see this and more from Scene Before, follow the blog either with an email or WordPress account! Also, check out the official Facebook page! I want to know, did you see “Lightyear?” What did you think about it? Or, what is your favorite science fiction movie of all time? Let me know down below! Scene Before is your click to the flicks!

Tenet (2020): This Review Hasn’t Happened Yet

Before we dive into this review, I just want to remind everyone that this is spoiler free. “Tenet” is one of the biggest movies of 2020 for a lot of reasons. There are not only a lot of people waiting desperately to see this movie, like myself, but there are also many people who might want to wait to see this movie depending on how safe it is to do such a thing. There’s also some areas like New York, California, the country of Japan that for the most part, cannot obtain access to this movie yet. With this in mind, I am going to attempt to be as vague as possible with my thoughts on “Tenet.” Kind of like its own trailers. What did we learn? Not much, which I don’t mind because I’d rather go into a movie knowing as little as possible. What’s the point of a trailer if it’s going to simply show the entire movie? I do go into detail on one or two things, but the things I take the deepest dives into don’t have much to do with plot, story, or characterization. Without further ado, it is time to start my review for “Tenet,” otherwise known as the movie I have waited since the Jurassic era to witness on the big screen.

The day we’ve waited for has arrived…

“Tenet” is written and directed by Christopher Nolan (The Dark Knight, Dunkirk) and stars John David Washington (BlacKkKlansman, Ballers), Robert Pattinson (Good Time, The Lighthouse), Elizabeth Debicki (The Burnt Orange Heresy, Guardians of the Galaxy Vol. 2), Dimple Kapadia (Bobby, Fearless), Michael Caine (The Cider House Rules, Interstellar), and Kenneth Branagh (Jack Ryan: Shadow Recruit, Hamlet) in a film involving NOT time travel, but time INVERSION, which makes time move backward. John David Washington plays The Protagonist (yes, that’s his actual name) who journeys through a twilight world and faces a mission that could mean the difference between peace… or World War III.

It’s finally here! “Tenet” is arguably my most anticipated movie of 2020, not to mention of all time. For the record, I keep saying “Dune” is my most anticipated film of the year, but given how “Tenet” is supposedly the movie that will “save cinema,” that’s an added bonus for me. I’ve talked about this movie long before it came out. I reviewed one of the trailers, I did a couple posts on what we knew about the movie at the time, and I even brought it up a couple times during my temporary “Movies and COVID-19: Behind the Scenes” series. I don’t think I’ll be updating that anytime soon, because I can only take so much talk about COVID-19 at this point. “Tenet” is also directed by Christopher Nolan, my favorite director working today. “Dunkirk” ended up being one of my favorite movies of 2017, taking my #4 spot at my end of the year countdown series. Two of his movies showed up in my “Top Movies of the 2010s (THE BEST 25)” countdown, which by the way, one of them ended up being my #1 pick! That movie by the way is “Interstellar,” which is one of my favorite movies of all time! Christopher Nolan is a director who individualizes his work in the industry, partially because he’s developed a distinctive style himself, but also because a studio as big as Warner Bros. trusts him at this point to make “his movie.” Plus, this movie was shot entirely in 65mm film, much of which was through IMAX. I’m a sucker for large format filmmaking, and I knew that this movie was gonna look CRISP.

To this day, Christopher Nolan has not made a bad film. Keep in mind, I still have not watched “Following,” but I’ve seen every other film from him. I really enjoyed “Memento” and I thought its storytelling methods were pretty solid. His “Dark Knight” trilogy is not only fun, but kind of refreshing in a world full of big CGI comic book movies. “Interstellar” is incredibly rewatchable and I stand by it being arguably my most cherished movie experience. “The Prestige,” while I don’t recall much about it, was fairly enjoyable. “Insomnia” is an entertainingly gritty thriller and features a fine performance from Al Pacino. “Dunkirk” is proof that you don’t always need a centralized character to tell a story, and I kind of like that. As if “Inception” wasn’t already cool enough, I rewatched it four times this year! Two of those times were in IMAX! It’s that good! So, is this the movie we’ve been waiting for? Is this the savior of cinema? Is “Tenet” 2020’s goldmine? Is it worth the hype?

Honestly, I’d say yes. The best way I can describe “Tenet” is this. If you’ve never been to Fenway Park in Boston before, they have this one section where all the seats happen to be green, except for one. Why? Because former Red Sox player Ted Williams hit a 502 ft home run towards that seat, and even though all the other seats remain green to this day, that one seat, which is 502 ft from home plate, is red. I feel like in my imagination, all the other movies that I’ve seen this year, all possess the typical green seats, but “Tenet,” because of how much I enjoyed it, gets the special spot. I say that because as I’ve discussed on here before, 2020 sucks, not just in general, but in the case of what I focus on regarding Scene Before, our cinematic calendar is pretty much a waste.

We’ve barely had any animated features this year, and while they are not my goto genre, I’ve watched at least five per year in the past couple years. It’s something I miss, and I really hope more can come out because Best Animated Feature is a category I do during my awards show that I put on here. There’s one movie that I have lost all motivation to review partially because of the pandemic, and partially because I’ve pretty much put it out of my mind upon leaving the theatre (That movie is “Bloodshot,” by the way.) All the big blockbusters like “Ghostbusters: Afterlife,” “F9,” “Morbius,” “Eternals,” and “Top Gun: Maverick” have all been pushed back about a year. “Tenet” is not only a movie that, unexpectedly, would supposedly “save cinema,” but it was one that was made to specifically show off the power of cinema.

I saw “Tenet” at a regular 2D screening at an AMC, and it felt like I was at an RPX or something. It really felt like the audio was cranked up beyond the maximum limit. This movie has some of the most immersive, and all time best sound editing I’ve heard in my life. Everything from the opening scene to the grand climax is magic for the ears. As for sound MIXING… That’s a different story, and quite honestly, it’s my biggest problem of the film.

Megaphone GIF - TooLoud Loud Afraid - Discover & Share GIFs

I’ve witnessed a few reviews before going to see “Tenet,” not mainly because I wanted to know how the movie was, but because I want to support the content from those who created it. Anyway, they seem to be having the same issue as me. “Tenet” is an audible, earth-shattering movie. Christopher Nolan is no stranger to this description. Have you guys seen “Dunkirk?” That’s gotta be one of the loudest movies I’ve heard in my life! Nolan is my favorite director of all time, but if there is one valid critique I will give to him, and this even stands true for “Interstellar,” my favorite movie of his. Christopher Nolan seems to be hyper-obsessed with having the sound mix be as obnoxious as possible, allowing sounds in the background like shotgun blasts, explosions, even music to take over the ears, thus making us lose some of what could be important dialogue. This wasn’t a huge dealbreaker because as someone who is an aspiring screenwriter, I know that words are not always necessary. Film is a visual medium. As long as I can see what’s going on and do so coherently, everything seems to be fine. Granted, I will always take good dialogue whenever possible, but what’s the point of making a movie when you can’t see or hear what people are “doing?”

I will also say, this movie has a lovable ensemble. Everyone from John David Washington to Elizabeth Debicki to Kenneth Branagh all happen to be great in the film. I enjoyed the presence of all their characters. I will point out though, once again, John David Washington plays a character whose name happens to be “The Protagonist.” I won’t say much about it, but I like the direction in which the movie took that meaning. I’ve read some things about “Tenet” before seeing it and I had no idea what that name could have to do with the movie, but the way they handled it was surprisingly pleasant, so kudos!

Speaking of “Tenet’s” ensemble, I will also bring up Michael Caine. For those of you who don’t follow Christopher Nolan, I should have you know that Michael Caine has been in every one of his movies since “Batman Begins.” He even had an uncredited role in “Dunkirk!” I’ve read about this before the film, and this is not spoiler, but Michael Caine’s character in the movie… is named Michael. Because, he’s already played everybody else in Nolan’s imagination, right? I won’t say much about Caine’s appearance in this film, but there’s a moment in the movie where The Protagonist ends a chat with him and my brain clicked as soon as I heard The Protagonist refer to Caine’s character as “Sir Michael.” Did Christopher Nolan originally write this movie with himself in mind for the lead role? I seriously want to know at this point!

I have already raved about this movie from an audio perspective, calling it one of the most immersive experiences I’ve had all year. I’ll also point out, I have never seen a movie “live in concert” before, but if they ever get to a point where they do such a thing for “Tenet,” I will IMMEDIATELY buy a ticket! Because let me just tell you one thing right now. “Tenet” may just have my favorite film score that I have heard in years!

One thing I’ve gathered about Christopher Nolan as a director is his tendency to work with people he’s worked with in the past. I recently mentioned Michael Caine. Nolan’s worked with Tom Hardy a couple times. Same goes with Anne Hathaway. He brought back Kenneth Branagh for this film. Hoyte Van Hoytema is the cinematographer for this movie, making this his third collaboration with Nolan. And if you ask me, this is another solid entry to his resume and I cannot wait to see how they used the IMAX cameras for this film. But I will point out one collaboration that I was shocked to see missing once I heard about it.

BEVERLY HILLS, CA – JANUARY 16: Composer Hans Zimmer arrives at the 68th Annual Golden Globe Awards held at The Beverly Hilton hotel on January 16, 2011 in Beverly Hills, California. (Photo by Jason Merritt/Getty Images)

No Hans Zimmer.

HOLLYWOOD, CA – FEBRUARY 24: Composer Ludwig Goransson poses with the Best Original Score award for “Black Panther” in the press room during at Hollywood and Highland on February 24, 2019 in Hollywood, California. (Photo by Jeff Kravitz/FilmMagic)

Why is he not here? He’s busy. He’s been doing “Wonder Woman 1984,” “No Time to Die,” “Hillbilly Elegy,” and perhaps the biggest reason why he couldn’t fit “Tenet” into his schedule, “Dune.” Hans Zimmer said “no” to doing the score for “Tenet” because he wanted to fit “Dune” into his busy calendar. There’s no beef between him and Christopher Nolan, but he just wants to do “Dune” so bad to the point where he had to give up doing the score for “Tenet.” I was a bit disappointed considering how Zimmer and Nolan are one of the best duos in Hollywood history. The score for “Interstellar” is one I listen to quite often. However, the movie ended up getting Ludwig Göransson (The Mandalorian, Black Panther) who I will point out, may have made my favorite main theme for all the characters in Disney’s Marvel Cinematic Universe, specifically for Black Panther.

RIP Chadwick Boseman and Wakanda forever.

I must say… This score very much reminded me of a few movies. It felt like something out of the “James Bond” franchise, which does make sense as this is a spy movie. But it also reminded me of the “Blade Runner” franchise, especially “Blade Runner 2049,” and I say that because, and pardon my unprofessional-sounding diction here, the score sounded “boomy” at times. That’s the best way I can describe it. There’s this occasional drum pattern of some sort that comes and goes, I cannot get it out of my head at this point. In fact, when I got home, I did something regarding this movie that I have never done before. I went online, and tried to see where I could buy a physical copy of the CD. There are a few movies like “Knives Out” or “Star Wars: The Rise of Skywalker” where I would watch it, enjoy the soundtrack, and maybe a couple days or a week later find the soundtrack on YouTube and listen to it. This is one of those rare times where I wanted to pay money for a physical copy.

Going with a different than usual composer for Christopher Nolan’s “Tenet” sounded like a rather bold, not to mention somewhat peculiar move when it comes to my first impression, but this may have been the best thing that could have happened to “Tenet” overall. Honestly, looking back, I don’t mind this change. Let me just say, the last film that Nolan did before “Tenet,” specifically “Dunkirk,” was undoubtedly amazing. And if you ask me, a couple parts of the score were worthy of a thumbs up. However, if I had compare that to many of the other entries to Hans Zimmer’s resume, not just the projects he’s done with Nolan, but even projects like “Man of Steel,” “The Lion King,” “Kung Fu Panda,” and “Batman v. Superman: Dawn of Justice,” the “Dunkirk” score felt kind of underwhelming.

The thing I really enjoyed about Ludwig Göransson’s score is that it really emphasized the scale of the movie. The entire time I felt like I was on an action-packed theme park ride that specifically caters to adults. Aside from that, it’s fast-paced, and I would not mind listening to it every single day for the rest of my life. I know funerals are supposed to be sad and that sort of thing, and honestly, the last thing I want to do is know that I will make everyone cry at my funeral, no matter what I bring to society. So, if anyone wants some epic music for my funeral that way not many people cry but it’ll still tie into a “Jack Drees” theme, download the “Tenet” soundtrack on your preferred service! Then again, when I die, why should I care? I can’t plan a funeral when I’m dead! It’s for the living to remember the dead as they choose! I can’t interfere! It’s improper!

Would I like to see Ludwig Göransson collaborate with Christopher Nolan again in the future? Yes and no. Let’s say they do a “Tenet 2.” I’m not implying I want a sequel. I’m not implying the movie ends highlighting plans to do a sequel. I’m just saying IF they do a “Tenet 2,” that’s an obvious yes from me. I cannot imagine anybody else handling this IP from a musical perspective at this point.However, I would either like to see Hans Zimmer come back because he and Nolan go together like bread and butter, or they get some other composer to come in like Danny Elfman or Alan Silvestri. It would also have to depend on the type of movie they do. I may be getting ahead of myself here, but I think Ludwig Göransson smashed this score so hard, that if he does another one, I will probably end up looking forward to it so much that I will just end up feeling underwhelmed upon hearing it no matter what happens. In addition, I don’t know how Göransson could top this score in another Nolan project. To be fair, he’s a musical genius and one of the more unique film composers I’ve heard, so he could find a way, but I also have my doubts. It’s kind of like when I watch “America’s Got Talent” sometimes during the quarterfinals or semifinals and there’s one act that does something so amazing that even though I WANT to see more from that act and I want them to succeed, I don’t see them topping what they just did, so it would be hard to tell if they could do something nearly as cool if they advance. It’s a compliment, but also kind of a curse.

“Tenet,” to be quite honest, is not my favorite Christopher Nolan movie. Nor is it my least favorite. As of right now, when it comes to my rankings, it ends up somewhere in the middle for me. I enjoyed it more than all the films in the “Dark Knight” trilogy, but I’d say that I enjoyed films like “Dunkirk” and “Inception” more. But as a filmmaker, Nolan is like Pixar. Bad Pixar is still better than a lot of movies. Remember “Onward?” I gave that movie a 7/10. That’s a low grade for Pixar, but a lot of filmmakers would kill to have their movie receive that positive of a review. But I will say that when it comes to “Tenet,” this movie has something going for it. Rewatchability.

Now, I already bought tickets for a second “Tenet” screening BEFORE going to my first one. The main reason is because I bought a ticket for myself, but I wanted to see the film in IMAX, but I didn’t buy an IMAX ticket, plus I figured it would make for a good outing with my father. So my second outing is so he could see the movie as well.

Not gonna lie, I’m already thinking of buying tickets to a third screening. Maybe I’ll do Dolby Cinema this time. I gotta check all the boxes for different formats I can see this movie in. In all seriousness, not only is this film rewatchable for entertainment purposes, but like some other Nolan flicks, I feel like I missed some things the first time around that could be picked up on a second, third, maybe even fourth viewing. And I’m not saying that as someone who feels like they HAVE to watch “Tenet” again, I’m saying that as someone who wants to. I don’t think I’ve wanted to go back to the movies to rewatch something this much since… I don’t know… Maybe ever. This film has some problems. The sound mixing is the most obvious and I think going forward, I’m not sure how much control Nolan has over the sound mixing process, I think that could be something that he needs to either stay away from, or something he should leave to others. Either that or just make a silent film. Nice little throw back. It could be shot in 4:3 on 8mm film. AMC could bring in special projectors for select screenings. It’s event cinema! Come on, Nolan! I’m writing your ideas for you! Use them! Although between the likable performances, the dazzling camerawork, the unreal use of practical effects, one of the most heart-pumping opening scenes I’ve witnessed in recent memory, one of the craziest climaxes I’ve witnessed in recent memory, and THAT. FREAKING. SCORE. “Tenet” is a good time at the movies. I repeat, AT THE MOVIES.

I cannot thank Warner Bros. enough to sticking to a theatrical release for this film. This is a movie that is literally MADE for the big screen, perhaps more so than any other this year. I’ll be honest, if this went straight to HBO Max… I don’t know if I would have watched it. Maybe I would have since I paid for the service and I want to get my money’s worth, but I would have been missing a lot of what I’ve gotten from my recent experience. Thank you, Warner Brothers, and I’m hoping you stick to your guns for films including “Wonder Woman 1984” and “Dune.” Cannot wait for those movies!

In the end, “Tenet” is exactly as it was advertised, an “event” film. It has the best and worst of Christopher Nolan’s cliches. Massive scale, but sometimes it’s too massive when it comes to the sound mix. Even so, it does not take away from this film’s long list of positives. Is “Tenet” my favorite movie of the year? No. I still think “Summerland” is my #1, and for all I know, it could stay at my #1 spot for some time. But again, “Tenet” comes off as an incredibly rewatchable film. If this film warrants enough repeat viewings, and maybe some more aspects regarding it stand out with greater positivity, “Tenet” could become my favorite film of 2020, but for now I’m going to give “Tenet” an 8/10!

“Tenet” warrants a viewing on the biggest screen possible. And I know that not everyone feels comfortable being inside a movie theater right now. But, if there is a drive-in open near you and it happens to be playing “Tenet,” it could make for a fun night out with an easier chance to remain socially distant. Otherwise, the film will probably be out on Blu-ray sometime in the future, but I really don’t know when. Because if I’m not mistaken, “Tenet” is supposed to be in cinemas for a long time, and if Warner Bros. wants to keep that promise alive, I would imagine that they’d go on long past the traditional theatrical window to keep exhibitors happy. I don’t know what’ll happen, but I highly recommend “Tenet” if you feel safe enough to get out of the house. Go see this damn thing! It’s freaking sweet!

Thanks for reading this review! I just want to remind everyone that “Tenet” is playing in several different formats to choose from. Many of the screenings perhaps near you happen to be in digital projection, but if you want other options, read this handy guide! I’m not sure what my next post is going to be as I am getting ready for my next year of college and I have a rather important family birthday coming up that requires major prioritization. But we’ll see what happens! Maybe it’s “Bill & Ted Face the Music,” maybe it’s “The Personal History of David Copperfield,” maybe it’s “Tesla,” who knows? Maybe I’ll cave in and get Disney+ so I can review “Mulan.” I really don’t want to, I think this is incredibly greedy, but who knows? I know you have seen more great content from Scene Before, it just hasn’t happened yet! With that in mind, do yourself a favor and follow Scene Before either with an email or WordPress account! Also, check out my Facebook page! I want to know, did you see “Tenet?” What did you think about it? Or, who is your favorite film director of all time? Let me know down below! Scene Before is your click to the flicks!