What should version watch next - Tenet ot Oppenheimer?

Tenet or Oppenheimer

  • Tenet

    Votes: 5 62.5%
  • Oppenheimer

    Votes: 3 37.5%

  • Total voters

Ian Scuffling

Well-known member
The extent to which this may happen must depend on the type of enjoyment derived. If the viewer had enjoyed the film because it had conveyed some sort of message and then found out it was a satire saying the opposite then it may well deflate their enthusiasm for the thing. But in other cases I'm not so sure. The primary role of film critics or of film studies should be to enhance the scope of one's possible enjoyment, in the same way that people can be led to enjoy different genres of music by having their attention directed to the parts that are supposed to be attended to. This is not to say that their roles are evaluative thereby; they are merely applying lubricant along the various paths of enjoyment.

Film studies types' eagerness to evaluate seems a bit odd because one's work as a student would involve analysis not evaluation.
I don't actually disagree with you I'm just going to split hairs and say that critics and academics serve different purposes, the more useful to society obviously being the critics and sadly the critical perspective gets beaten out of film students pretty quickly. I'm speaking from firsthand experience. The difference between critics and scholars is that critics are, ideally, succeeding at what you're describing, whereas film scholars mostly just apply another field to their chosen subject to justify otherwise meaningless studies. I respect the scholars of pure film theory but they're not critics either. Film studies as a field is not at all interested in criticism, or at least not anymore. The crossover between academics and critics has diminished significantly because of this divergence in objective and style.


What's your favorite film
The film I've seen the most is Total Recall (3 times) but the film that I enjoyed the most and had the greatest affective impact on me was A.I.
Spielberg got me real good there.

The director I like the most is David Lunch (sp?). I think he's an intuitive genius*. I dislike contrived depth but I do like intricacy.

*Although, having read a lot of books on the paranormal and esoteric recently he may just be nicking the best bits from those I think!**

**But, unlike Donnie Darko, for instance, these otherworldly elements never feel tacked on.


I have a friend who treats every film as an escape room: he tries to work out what the rest of the film is going to do and, once he's satisfied that he's solved it, he tunes out and lambasts it afterwards for being predictable.

That is the Inception way of watching films.


Well-known member
I have a friend who treats every film as an escape room: he tries to work out what the rest of the film is going to do and, once he's satisfied that he's solved it, he tunes out and lambasts it afterwards for being predictable.

That is the Inception way of watching films.

My brother said he recently watched Beau is Afraid and didn't start enjoying the film until he stopped trying to approach it like this.


My brother said he recently watched Beau is Afraid and didn't start enjoying the film until he stopped trying to approach it like this.
I do have one predictive rule of thumb myself: in the vast majority of films there is no redundant information. For instance, in M Night Showaddywaddy's Signs (SPOILER ALERT) our attention is brought to a baseball bat early on and, lo and behold, Mr Battikins turns up later to save the day. So, I do wish that filmmakers put more red herrings into their films.

I think Shamamalam is quality, by the way.


Well-known member
the last two Nolan movies are cinema of pure sensation, the ur-form of the big budget blockbuster. Like going to some dystopic movie-experience machine that injects you with all the feelings you get when watching a movie without having to actually watch one. And with tenet and Oppenheimer, they are barely movies in the sense that movies are a cohesive narrative arc- tenet is incomprehensible and the best parts of Oppenheimer are edited so quickly that it devolves from Story to Sequence of images. Stratum of pure feeling escaping narrative demand. Everything you want from the I Max experience unburdened by the rules.


bandz ahoy
Oh and the way there was that constant sound bed of tension. Long ass crescendo. Ham fisted.
There is something about Nolan's films, it's like they're directed by an AI sometimes

The AI knows that dramatic music should be used but doesn't know when to stop

The Ai doesn't understand editing yet, so it edits really fast

The AI knows it has to get the shiva quote in so it smooches it into a sex scene with a woman (it hasn't yet learned how to write women)


Well-known member
Somebody get chat gpt to replot master and commander if it was directed by Christopher Nolan

Title: "Master and Commander: The Far Side of the World"
Director: Christopher Nolan
Plot Summary: In the hands of Christopher Nolan, "Master and Commander: The Far Side of the World" would likely take on a more intense, psychologically driven narrative while still maintaining the essence of adventure and naval warfare. Nolan's signature nonlinear storytelling and meticulous attention to detail would bring a fresh perspective to this historical epic.
The film would still follow the adventures of Captain Jack Aubrey and his crew aboard the HMS Surprise during the Napoleonic Wars, but with a deeper exploration of the characters' motivations and the moral complexities of war.
Here's how the reimagined plot might unfold:
Act 1: Setting Sail The film opens with a gripping battle sequence as the Surprise engages in a fierce naval battle with a French privateer. Through Nolan's nonlinear storytelling, snippets of the crew's pasts and motivations are revealed amidst the chaos of battle. Captain Aubrey's strategic brilliance and leadership are showcased as he leads his men to victory.
Act 2: Pursuit of the Acheron Following the battle, Captain Aubrey receives orders to pursue the French warship Acheron, a formidable opponent that has been wreaking havoc on British ships. As the Surprise sets sail across the treacherous waters of the South Atlantic, tensions rise among the crew, and Nolan explores themes of loyalty, duty, and sacrifice.
Act 3: Psychological Warfare As the pursuit of the Acheron intensifies, Nolan delves into the psychological toll of war on both the crew and Captain Aubrey. Flashbacks and dream sequences reveal the personal demons haunting each character, from past traumas to moral dilemmas. The line between friend and foe blurs as the crew grapples with their own humanity in the face of conflict.
Act 4: The Final Showdown The tension reaches its peak as the Surprise finally confronts the Acheron in a climactic battle. Nolan's masterful direction and visual storytelling heighten the intensity of the action sequences, as the two ships engage in a thrilling game of cat and mouse amidst the crashing waves. With the fate of the crew hanging in the balance, Captain Aubrey must make difficult choices that will test his leadership and honor.
Act 5: Reflection and Redemption In the aftermath of the battle, Nolan allows for moments of quiet reflection as the crew comes to terms with the toll of war. Through poignant dialogue and imagery, the film explores themes of redemption and the enduring bonds forged in the heat of battle. As the sun sets on the horizon, Captain Aubrey and his crew sail into the unknown, forever changed by their journey on the far side of the world.
With Christopher Nolan at the helm, "Master and Commander: The Far Side of the World" would be a visually stunning and emotionally resonant epic that transcends the boundaries of the traditional war film.


Well-known member
Bit disappointing. Where's the big twist?

Apologies for the oversight! Let's add a Nolan-esque twist to the plot:
Act 4: The Unveiling of the Twist
As the Surprise finally confronts the Acheron in the climactic battle, the audience is led to believe that victory is within grasp. However, just as it seems that Captain Aubrey's strategic prowess will prevail, a shocking revelation emerges: the Acheron is not just a French warship, but a vessel from a parallel dimension.
In a mind-bending twist, it's revealed that the Acheron's captain, driven by a desire for power and dominance, has harnessed mysterious technology that allows his ship to traverse through different dimensions. The battle takes on a surreal and otherworldly quality as the two ships clash amidst shifting realities and gravitational anomalies.
Caught off guard by this revelation, Captain Aubrey and his crew must adapt their tactics to navigate this strange new battlefield. As the battle rages on, Nolan weaves together elements of science fiction and historical drama, blurring the lines between reality and imagination.
Act 5: The Convergence
In a pulse-pounding finale, Captain Aubrey and his crew must outmaneuver the Acheron across multiple dimensions, using all their wit and courage to emerge victorious. As the two ships collide in a final showdown, the fabric of reality itself begins to unravel, leading to a spectacular climax that defies all expectations.
With the Acheron defeated and the crew of the Surprise triumphant, Captain Aubrey faces a new challenge: finding a way to return to their own dimension before they are lost in the endless expanse of the multiverse. In a poignant conclusion, Nolan explores themes of heroism, sacrifice, and the resilience of the human spirit as Captain Aubrey and his crew navigate their way home, forever changed by their encounter with the unknown.
With this twist, "Master and Commander: The Far Side of the World" becomes not only a thrilling naval epic but also a thought-provoking exploration of the mysteries of the cosmos and the limitless potential of the human imagination.