Any movie can achieve a moment of greatness. We’re talking about those few minutes that stick with you for a lifetime, even after everything around them fades from memory. You’ve heard of a TV show jumping the shark? This is the shark jumping Sam Jackson; when the world has forgotten Deep Blue Sea, his gloriously interrupted pep talk will live on in the collective imagination. It’s a principle we here at The A.V. Club try to keep in mind every December, when we’re putting together the list you’re about to scroll through. Sure, there’s inevitable overlap between a year’s great movies and its best individual scenes, which is why some of the titles appearing in this feature will show up again next week, when we count down our favorite whole films of 2020. But great scenes can come from all sorts of movies—even, say, a nattering family-friendly video game adaptation we’d otherwise prefer to forget. You’ll find that and more on the list that follows, unranked save for the selection of a single scene that we settled on as our consensus favorite of 2020. Oh, and reader beware: Although we tried to stick the more revealing descriptions toward the end, there will be spoilers throughout. Because no matter where the scene comes from, explaining its greatness requires some, you know, explaining.
Lovers Rock
Tenet Photo Warner Bros.
Any movie can achieve a moment of greatness. We’re talking about those few minutes that stick with you for a lifetime, even after everything around them fades from memory. You’ve heard of a TV show jumping the shark? This is the shark jumping Sam Jackson; when the world has forgotten Deep Blue Sea, his will live on in the collective imagination. It’s a principle we here at The A.V. Club try to keep in mind every December, when we’re putting together the list you’re about to scroll through. Sure, there’s inevitable overlap between a year’s great movies and its best individual scenes, which is why some of the titles appearing in this feature will show up again next week, when we count down our favorite whole films of 2020. But great scenes can come from all sorts of movies—even, say, a nattering family-friendly video game adaptation we’d otherwise prefer to forget. You’ll find that and more on the list that follows, unranked save for the selection of a single scene that we settled on as our consensus favorite of 2020. Oh, and reader beware: Although we tried to stick the more revealing descriptions toward the end, there will be spoilers throughout. Because no matter where the scene comes from, explaining its greatness requires some, you know, explaining.
I’m not sure how that quote shows any “anarchism” as such. Either Hoffman was trying to be sarcastic or he really bought into the “Age of Aquarius” mysticism that unfortunately infected the hippie movement and which helped bring discredit to the anti-war movement by making it look silly.
But the scene the the article praises is completely alien from Hoffman’s actual views. Here’s another quote from Steal This Book:It’s universally wrong to steal from your neighbor, but once you get beyond the-one-to-one level and pit the individual against the multinational conglomerate, the federal bureaucracy, the modern plantation of agro-buinsess, or the utility company, it becomes strictly a value judgement to decide exactly who is stealing from whom. One person’s crime is another person’s profit. Capitalism is license to steal; the government simply regulates who steals an how much. I always wanted to put together an outlaw handbook that would help raise consciousness on these points while doing something about evening the score. There was also the challenge of testing the limits of free speech.This movie will be how the public at large will perceive Abbie Hoffman and the fact that the movie basically erases his political views in place of Sorkin’s is intellectually dishonest. I’d rather this movie be honest about who Hoffman and disagree with it than turn Hoffman into Sorkin’s mouthpiece.
It’s the peril of every based on true story movie, that the dramatizer’s viewpoints overwhelm the source. For me, given that the fictionalization is happening because Sorkin (and any historical fiction, really) are trading on gravitas that people place on the story because “this happened” just making a scene work is too low of a bar in my estimation. Then again, I’ve never been a big fan of biopics and I’m not a fan of Aaron Sorkin’s in particular since watching him have Philo Farnsworth die a sad alcoholic fighting RCA in the Farnsworth Invention when Farnsworth actually won his lawsuit. In favor of dramatic effect.
Also I hope someone from law enforcement followed up with that guy who took up Borats offer to name a price for his 15 year old daughter. The guys daughter, overhearing, calls him gross, makes a face like a kid would for a bad dad joke, then carries on with life as if her father didn’t just solicit a child in front of her. I’m not sure how staged that scene was, but it sure seems like that’s a common enough occurrence based on the daughter’s response and if real that guy needs to go to jail.
Unfortunately, the conspicuously deceptive editing really undercuts the comedy (and drama). The spectators never appear in the same shot as the dance, which is already suspicious. Their fairly subdued reactions also don’t seem proportional with the lurid spectacle.
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The proposal scene from Emma. was a great scene too as it didn’t go the way it’s protrayed in previous adaptations. [spoiler]The nosebleed was so unexpected and a bit comical. Also interesting to know that it was an actual nosebleed. It was written in the script but Anya Taylor-Joy is prone to them and she happened to get one at the most perfect time.
Possibly controversial, but I really don’t understand the love for the Silly Games sequence in Lovers Rock. I know I’m in the minority, but it struck me as needlessly indulgent, going on far too long and growing actively annoying by the ten minute mark. It didn’t help that the main couple felt underdeveloped, and I wish McQueen had devoted more time to depicting their relationship than the two incredibly long dance/singing sequences.I probably would have gone for the scene in Mangrove where Crichlow gets thrown into the cell during court and screams out at the guards. That’s an example of a long scene that felt necessary, as if it could have gone on for an hour and Frank would still be there, raging at his oppressors.
It doesn’t last ten minutes. In any case, what does it feel like to you when you get “lost” in music? There is often a sensation of suspended time, of the world and temporal parameters dissolving. The scene potently captures this affective spell.
I just rechecked the scene and it lasts nearly twelve minutes.If I was at a party, I’d probably be into the music, but for me personally, that’s a different experience from watching it on TV.
Such a good list! I am happy that A White White Day was the first film I saw in lockdown. And Never Rarely Sometimes Always is the last film I saw in a theater. I saw Extra Ordinaroy and The Vast of Night last year and they were both a lot of fun. Beanpole had its moments. I feel there haven’t been enough good movies about the siege of leningrad and its aftermath. I have so many more 2020 movies to see.
My favorite scenes from movies that didn’t make the list:- Ma Rainey’s Black Bottom: the scene midway through the film when Sylvester gets the intro right and Ma immediately and perfectly segues into her part and the band pulls off a perfect rendition of Black Bottom.- Birds of Prey: the scene where Harley gets the perfect breakfast sandwich made. Taking a few minutes out of a superhero flick for some magnificent food porn? I’m here for that.-The 40 Year Old Version: the scene where Radha’s play is finally performed and she goes on stage to make her remarks
My favorite scene (unexpectedly!) snuck in at the end of the list— the final moments of Relic really stuck with me. Or stuck with me. That movie deserves a little more attention, so here I am! Check it out if you like feeling tense and sad! The movie 2020 deserved.
Birds of Prey didn’t work as a whole, but it did have some great scenes. I think the highlight was Harley describing and waiting for her perfect hangover sandwich.Also On The Rocks was truly a delight.
Would have much preferred if that scene had made the list, I very much disagree with any of the action sequences getting on a list like this though, the choreography was so half -assed and lazy that the fight sequences felt like something lifted from one of the CW series, definitely not something that merits a “best of” anything (that said I’d also probably be a little more generous if the inclusion was the sequence where Harley gets inadvertently coked up)
One of the few things I watched in theater this year. Might have missed it if it hadn’t been released in the sweet spot here where you could actually go…
I haven’t seen most of these, but good calls on Beanpole and Happiest Season.A couple I liked: Palm Springs has plenty of good contenders, but the scene when Andy Samberg goes to JK Simmons’ house was great.My memory’s a little fuzzy on Zombi Child, but I remember liking the opening Haiti-set sequence a lot. The scene at the frat-boy house in Lovebirds.Any scene involving whistling in The Whistlers.
Tenet was a mess, but there were three action set pieces that were unlike anything I’ve ever seen before. Even the (somewhat) more formulaic opening piece was exciting as hell.
I don’t think that final scene really established the geography very well, but had some impressive ideas. Would have also helped if I knew who they were fighting, but I blame the weird sound engineering on that. Maybe more impactful on a rewatch.
I’m pretty sure Nolan got the idea from Tenet from this Two Ronnies sketch which is approximately 10,000 times cleverer and still counts as one of their sillier ideas:
Tenet was … fine? I watched it last night and honestly I WAY preferred watching this at home instead of in a theater. At least then I could pause it and think about all the time-inverting shit for a second. Well, I did that a couple times, then I just said F it and let the movie play because I knew it wouldn’t make any sense anyway and it would make my head hurt. It seemed like the kind of story that would make perfect sense and be an amazing story only if you were the person who wrote it. And yet, being a Nolan movie, the sort of twist was pretty predictable…
No, it’s not you. There’s SO many plot holes in that movie and they are either just hand waved away with endless expository dialogue that doesn’t actually explain anything or are just never explained at all because there IS no explanation or Nolan clearly didn’t care.
Like hey…what were the ACTUAL motives of the people burying shit in the the future. Maybe that might be a thing we as the audience might want to know about. These crazy arms merchants from the future who are trying to end all life in the universe and everything in existence. They sound like they might be important to the movie about backwards-in-time-weapons.
Nah, let’s just have the actual plot of the film AND the actual villains just be one giant MacGuffin with no actual pay off that is never explained and never even shown.
I truly believe Nolan thinks he made the greatest movie ever made with Tenet and it’s just…it’s either the dumbest “smart” movie I’ve ever seen or the smartest “dumb” movie. Either way it’s not the movie Nolan thinks it is and I really hope the entire experience of Tenet crashing and burning has taught him he needs to crawl out of his ass once in a while or at least have his brother around to give him script notes.
Yeah, I’ve liked more about Nolan movies than I’ve disliked, but this is getting pretty tiring. I remember hearing Inception described as “a movie to make dumb people thing they’re having a smart conversation” or something, and I kind of dismissed that criticism at the time, but that seems spot on in retrospect. I think he really does think he’s created the greatest mix of story and technologically awesome filmmaking ever. That said, I thought John David Washington was great in this. The way he conveyed the outsiderness of not understanding who he was working for or who he was fighting, combined with being a Black American trying to blend into uppercrust British snobbery, was great. For as much as Nolan deserves criticism for his over-explained plots that are still somehow extremely unclear, I will give him credit for just letting the racism hang out in certain scenes without having anyone explicitly say anything about it, and Washington does a great job with it.Oh… and now that I read your interpretation of the plot, which isn’t quite how i saw it, I think maybe… The people in the future AREN’T actually trying to destroy the world? Yeah, they’re trying to reverse the flow of time, because their future is basically the apocalypse. So maybe the plan is to reverse time so they can live in a better world, then millennia later reverse it again, and on and on so they can just inhabit their ideal world at all times?
I think John David Washington brought more to the movie than Nolan brought out of him. I agree with everything you said, but I think that was fully him because he’s a really good actor who was actually IN that situation of being a Black American blending in with British snobbery.
I assumed destroy because of the “bomb that can end all of time and space” being detonated seemed integral to their plans.
You’re not wrong in your general criticism of the movie, but the motives of the future people were actually explained. Sator tells the Protagonist that the future was so messed up that the people who live in it were banking on being able to kill their ancestors in order to fix the world without killing themselves in the process (hence all the references to the grandfather paradox).What’s funny to me, though, is that this in itself makes no sense: either the future-people kill their ancestors in the past and it changes nothing – thus leaving them trapped in a dismal world – or it DOES change their past and thus they’re all wiped from existence. The only way their plan would ever work is if killing their ancestors in the past removed the consequences of all the actions they ever took, EXCEPT giving birth to the future people. So the physical world would behave as if their ancestors never existed, but for some reason it’s still populated by the future people despite their ancestors never having been alive to give birth to them.Which leads me to wonder… Does Christopher Nolan think that ‘the grandfather paradox’ refers ONLY to grandfathers and literally nothing else??(NB I enjoy Nolan’s movies, and even Tenet to an extent. It is a bit of a misfire, though)
The plan was not to kill specific people from the past, it was to reverse the prevailing winds of time. Thing is, no one knew what would actually happen when the algorithm was activated. It’s related to inversion, but it’s not the same thing. It might have a large chance to destroy the universe, but it doesn’t matter to the future people. Like Sator, if they can’t have it, no one else can.
There’s SO many plot holes in that movieThere were so many plot holes in that movie I got hypothermia from the waist up. [Hitchcock and TV Tropes joke]
“I truly believe Nolan thinks he made the greatest movie ever made with Tenet”Based on what? Because it seems to me that you made that up so you can get angry at him over something he’s never said or implied.Also, your so-called “plot hole” was explained in the movie, and even if it wasn’t explained, it wouldn’t be a plot hole.
In my estimation, the montage scene from Palm Springs is better than anything else on this list. It’s also the best movie I saw this year, or at least the most entertaining.
I made the same comment earlier this week in a different section of the internet (that Palm Springs was the best movie I’d seen this year). Glad to see there’s at least one other human who thinks that! The montage was great.
Totally! It’s such a wonderful film. I went in expecting it to be shamelessly derivative of Groundhog Day (an all-timer), and was completely taken aback by how much I enjoyed it (despite the similarities). Samber and Miloti had phenomenal chemistry. It was the perfect quarantine movie. Loved it. And yes, grinning ear to ear during the montage!
A slideshow? Ugh. Without going through it these are my picks so far:Tracking shot across town – The Vast of NightFinal scene between Riz Ahmed and Paul Raci – Sound of MetalA capella “Silly Games” – Lovers RockTitular scene – Never Rarely Sometimes Always“Sailing” – Summer of 85
Take your browser window off of full screen and narrow it a bit. It’ll switch to mobile view and you can just scroll through all of it without slideshow.
Having just watched Black Bear I was *really* hoping to see the shooting of the last scene of the internal film. Aubrey Plaza was incredible and I hope she get allll the notice for it.
If the Sonic movie was just two hours of Robotnik dancing then I think it could have been an improvement. I liked how he went from hi-tek with all his computers to low-tek with his zippo, back to hi-tek and never lost a beat. And all of his stuff was labeled “evil”
The title image scene from Tenet..I HATE double-breasted men’s jackets, but holy shit, Robert Pattinson sells it like some sort of hot WASPy model from the mid-80s (that’s a compliment).
Birds of Prey – a couple of posts here have already mentioned the sandwich scene, culminating in Harley’s dramatic, silent scream as the sandwich is destroyed at the end of a chase sequence.The Broken Hearts Gallery – the karaoke bar sequence, a rom-com staple, done really well here (particularly since it serves as an excuse to have Phillipa Soo sing).Emma. – the infamous Box Hill picnic, the moment where the erstwhile feather-light story suddenly acquires emotional stakes.Mangrove – you could cite a lot of things from the “Small Axe” project, but I’ll go with Letitia Wright’s brilliant speech, which I saw just under the wire before she revealed herself to be a moron on Twitter.Onward – the twist at the climax, which is the point where what had heretofore been an above-average Dreamworks production became a proper Pixar movie. In retrospect it should have been obvious, but they concealed it well.
This might seem like I’m damning a movie I liked a lot with faint praise, but the best scene from Tenet was the kitchen fight and everyone knows it.Also really enjoyed the red room/blue room sequence a lot.
The freefall in Weathering With You. An awe-inspiring scene where the central pair refuse to mince words, professing their love and their defiance against the outside forces threatening their love. The accompanying song is wonderful, building up to an ecstatic emotional crescendo that complements the scene.
I haven’t seen much (I’ll blame the pandemic, but the truth is I’ve been slacking) but I agree with The Assistant, Never Rarely Sometimes Always, Borat 2, and Sonic. I think The Invisible Man’s better scene is the one at the restaurant, Tenet’s better scene is the backwards highway chase, and Birds of Prey’s better scene is the sandwich.But with the exception of Never Rarely, I’m lukewarm on all these films anyway. I know I say it every December, but this time I really mean it: The movies this year were ‘meh.’ That said, let’s have some fun! ***SPOILERS***
Of all the future scenarios in Bill and Ted Face the Music, I most enjoyed the pot-bellied versions squatting at David Grohl’s fancy home
I was amused by the Right vs. Left satire in The Hunt. Betty Gilpin kicks ass in the middle of it all, and it ends with my favorite kitchen fight since Kill Bill
Unhinged let’s Russel Crowe’s road rage tap
into the unchecked id in all of us. The gas station scene shifts this
popcorn thriller into its next gear
The problem with the Tenet scene is that it was an empty plane. So who cares? The 1997 movie Volcano blew up an empty building, but they still had the good sense to throw a stray kid in there for some tension. In Die Hard, Bruce Willis has to get off the roof. Keanu has to get off the bus. Bill Pullman has to get out of the White House. Without any narrative suspense they’re just blowing something up for the sake of blowing something up. John Woo also crashed a plane into a hangar in Face/Off and it was the climax to an action scene where the villain was trying to make a daring escape. In Tenet, it was just part of the heist. Just clockwork. Nolan had no passengers to save, no stakes, but we’re supposed to marvel at the explosion anyway. For the sake of it. He should be better than that.
Tenet had about 2 and a half hours of brilliant set-pieces, but I’m surprised the opera scuffle didn’t top the freeport crash – I thought the smaller drama of the fist-fight was more exciting than the plane crash, and while the fight choreography was insanely cool, when our heroes go BACK to that scene its more impactful than the first time trhough it. Tenent’s masterpiece scene had to be the opening.
2020 highlight for me was traveling up to the tropics. I feasted on mango and smoked salmon, walked through rivers, and then there was this, taken moments before the green ants saw my stick and everything got out of hand quick. Me and my curiosity:
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Hoffman counters, saying that what matters is education and engagement, not compromise. It’s a short but clarifying debate, sketching out the framework for a fight that American leftists are still having, 50 years later.Except the movie pretty much tries to substitute Hoffman’s beliefs ( He was an anarchist) with Sorkin’s neoliberalism. For example, here’s something he actually said in the trial:I said that the Pentagon was a five-sided evil symbol in most religions and that it might be possible to approach this from a religious point of view. If we got large numbers of people to surround the Pentagon, we could exorcize it of its evil spirits. So I had agreed at that point to begin working on the exorcism of the Pentagon…Compare that to movie where Sorkin had him saying that “I think the institutions of our democracy are wonderful things that right now are populated by some terrible people.”.
I’m not sure how that quote shows any “anarchism” as such. Either Hoffman was trying to be sarcastic or he really bought into the “Age of Aquarius” mysticism that unfortunately infected the hippie movement and which helped bring discredit to the anti-war movement by making it look silly.
It was less an actual exorcism and more an act of political theater. Hoffman was famous for that sort of thing.
Except what? It’s a fictionalization of real life, not a documentary.
But the scene the the article praises is completely alien from Hoffman’s actual views. Here’s another quote from Steal This Book:It’s universally wrong to steal from your neighbor, but once you get beyond the-one-to-one level and pit the individual against the multinational conglomerate, the federal bureaucracy, the modern plantation of agro-buinsess, or the utility company, it becomes strictly a value judgement to decide exactly who is stealing from whom. One person’s crime is another person’s profit. Capitalism is license to steal; the government simply regulates who steals an how much. I always wanted to put together an outlaw handbook that would help raise consciousness on these points while doing something about evening the score. There was also the challenge of testing the limits of free speech.This movie will be how the public at large will perceive Abbie Hoffman and the fact that the movie basically erases his political views in place of Sorkin’s is intellectually dishonest. I’d rather this movie be honest about who Hoffman and disagree with it than turn Hoffman into Sorkin’s mouthpiece.
I don’t see how any of that changes how a scene works in a movie.
It’s the peril of every based on true story movie, that the dramatizer’s viewpoints overwhelm the source. For me, given that the fictionalization is happening because Sorkin (and any historical fiction, really) are trading on gravitas that people place on the story because “this happened” just making a scene work is too low of a bar in my estimation. Then again, I’ve never been a big fan of biopics and I’m not a fan of Aaron Sorkin’s in particular since watching him have Philo Farnsworth die a sad alcoholic fighting RCA in the Farnsworth Invention when Farnsworth actually won his lawsuit. In favor of dramatic effect.
That’s also what’s used to justify the objective lies that populate When They See Us.
What a strange year it’s been for movies.
IKR? And they have Sonic the Hedgehog for a good scene?
That whole scene in Borat is so surreal, right down to the daughters getting pissed at their dads for enjoying the whole creepy thing way too much.
They were actually paid extras who there as part of a casting call, were told it was for a tv show, and most of them still left right away.
Also I hope someone from law enforcement followed up with that guy who took up Borats offer to name a price for his 15 year old daughter. The guys daughter, overhearing, calls him gross, makes a face like a kid would for a bad dad joke, then carries on with life as if her father didn’t just solicit a child in front of her. I’m not sure how staged that scene was, but it sure seems like that’s a common enough occurrence based on the daughter’s response and if real that guy needs to go to jail.
I’m guessing that was staged, because why would the guy and his daughter have been mic’d?
Unfortunately, the conspicuously deceptive editing really undercuts the comedy (and drama). The spectators never appear in the same shot as the dance, which is already suspicious. Their fairly subdued reactions also don’t seem proportional with the lurid spectacle.
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The proposal scene from Emma. was a great scene too as it didn’t go the way it’s protrayed in previous adaptations. [spoiler]The nosebleed was so unexpected and a bit comical. Also interesting to know that it was an actual nosebleed. It was written in the script but Anya Taylor-Joy is prone to them and she happened to get one at the most perfect time.
Possibly controversial, but I really don’t understand the love for the Silly Games sequence in Lovers Rock. I know I’m in the minority, but it struck me as needlessly indulgent, going on far too long and growing actively annoying by the ten minute mark. It didn’t help that the main couple felt underdeveloped, and I wish McQueen had devoted more time to depicting their relationship than the two incredibly long dance/singing sequences.I probably would have gone for the scene in Mangrove where Crichlow gets thrown into the cell during court and screams out at the guards. That’s an example of a long scene that felt necessary, as if it could have gone on for an hour and Frank would still be there, raging at his oppressors.
idk, we’re transported into this moment in time, it would have taken away from the magic if we spent all this time developing their relationship.
It doesn’t last ten minutes. In any case, what does it feel like to you when you get “lost” in music? There is often a sensation of suspended time, of the world and temporal parameters dissolving. The scene potently captures this affective spell.
I just rechecked the scene and it lasts nearly twelve minutes.If I was at a party, I’d probably be into the music, but for me personally, that’s a different experience from watching it on TV.
I kinda get it.If you don’t like parties. Or music.
Such a good list! I am happy that A White White Day was the first film I saw in lockdown. And Never Rarely Sometimes Always is the last film I saw in a theater. I saw Extra Ordinaroy and The Vast of Night last year and they were both a lot of fun. Beanpole had its moments. I feel there haven’t been enough good movies about the siege of leningrad and its aftermath. I have so many more 2020 movies to see.
My favorite scenes from movies that didn’t make the list:- Ma Rainey’s Black Bottom: the scene midway through the film when Sylvester gets the intro right and Ma immediately and perfectly segues into her part and the band pulls off a perfect rendition of Black Bottom.- Birds of Prey: the scene where Harley gets the perfect breakfast sandwich made. Taking a few minutes out of a superhero flick for some magnificent food porn? I’m here for that.-The 40 Year Old Version: the scene where Radha’s play is finally performed and she goes on stage to make her remarks
hah I just posted the Birds of Prey sandwich scene as well!
Birds of Prey was this year?! Damn I’ve lost all sense of time
It’s the third-highest grossing movie in the US this year!
My favorite scene (unexpectedly!) snuck in at the end of the list— the final moments of Relic really stuck with me. Or stuck with me. That movie deserves a little more attention, so here I am! Check it out if you like feeling tense and sad! The movie 2020 deserved.
“Check it out if you enjoy feeling tense and sad!”Classic, they should put it on the movie poster (if it had one).
Birds of Prey didn’t work as a whole, but it did have some great scenes. I think the highlight was Harley describing and waiting for her perfect hangover sandwich.Also On The Rocks was truly a delight.
Would have much preferred if that scene had made the list, I very much disagree with any of the action sequences getting on a list like this though, the choreography was so half -assed and lazy that the fight sequences felt like something lifted from one of the CW series, definitely not something that merits a “best of” anything (that said I’d also probably be a little more generous if the inclusion was the sequence where Harley gets inadvertently coked up)
That and Wonder Woman are the only two DCEU movies I’ve seen. I think when DC is good, it’s great. But it’s very hit-and-miss.
I really adored the mortuary collection, it didn’t get much love but I thought it was a dandy.
One of the few things I watched in theater this year. Might have missed it if it hadn’t been released in the sweet spot here where you could actually go…
One of my personal favorite scenes of the year is “the horse scene” from The Nest.
I haven’t seen most of these, but good calls on Beanpole and Happiest Season.A couple I liked:
Palm Springs has plenty of good contenders, but the scene when Andy Samberg goes to JK Simmons’ house was great.My memory’s a little fuzzy on Zombi Child, but I remember liking the opening Haiti-set sequence a lot.
The scene at the frat-boy house in Lovebirds.Any scene involving whistling in The Whistlers.
Tenet was a mess, but there were three action set pieces that were unlike anything I’ve ever seen before. Even the (somewhat) more formulaic opening piece was exciting as hell.
Really didn’t care for the final battle. Reminded me of Inception’s siege on the snow fort. Just was boring to me.
I don’t think that final scene really established the geography very well, but had some impressive ideas. Would have also helped if I knew who they were fighting, but I blame the weird sound engineering on that. Maybe more impactful on a rewatch.
I’m pretty sure Nolan got the idea from Tenet from this Two Ronnies sketch which is approximately 10,000 times cleverer and still counts as one of their sillier ideas:
Sorry, I’m disabled from finding English people funny.
Tenet was … fine? I watched it last night and honestly I WAY preferred watching this at home instead of in a theater. At least then I could pause it and think about all the time-inverting shit for a second. Well, I did that a couple times, then I just said F it and let the movie play because I knew it wouldn’t make any sense anyway and it would make my head hurt. It seemed like the kind of story that would make perfect sense and be an amazing story only if you were the person who wrote it. And yet, being a Nolan movie, the sort of twist was pretty predictable…
No, it’s not you. There’s SO many plot holes in that movie and they are either just hand waved away with endless expository dialogue that doesn’t actually explain anything or are just never explained at all because there IS no explanation or Nolan clearly didn’t care.
Like hey…what were the ACTUAL motives of the people burying shit in the the future. Maybe that might be a thing we as the audience might want to know about. These crazy arms merchants from the future who are trying to end all life in the universe and everything in existence. They sound like they might be important to the movie about backwards-in-time-weapons.
Nah, let’s just have the actual plot of the film AND the actual villains just be one giant MacGuffin with no actual pay off that is never explained and never even shown.
I truly believe Nolan thinks he made the greatest movie ever made with Tenet and it’s just…it’s either the dumbest “smart” movie I’ve ever seen or the smartest “dumb” movie. Either way it’s not the movie Nolan thinks it is and I really hope the entire experience of Tenet crashing and burning has taught him he needs to crawl out of his ass once in a while or at least have his brother around to give him script notes.
Yeah, I’ve liked more about Nolan movies than I’ve disliked, but this is getting pretty tiring. I remember hearing Inception described as “a movie to make dumb people thing they’re having a smart conversation” or something, and I kind of dismissed that criticism at the time, but that seems spot on in retrospect. I think he really does think he’s created the greatest mix of story and technologically awesome filmmaking ever.
That said, I thought John David Washington was great in this. The way he conveyed the outsiderness of not understanding who he was working for or who he was fighting, combined with being a Black American trying to blend into uppercrust British snobbery, was great. For as much as Nolan deserves criticism for his over-explained plots that are still somehow extremely unclear, I will give him credit for just letting the racism hang out in certain scenes without having anyone explicitly say anything about it, and Washington does a great job with it.Oh… and now that I read your interpretation of the plot, which isn’t quite how i saw it, I think maybe… The people in the future AREN’T actually trying to destroy the world? Yeah, they’re trying to reverse the flow of time, because their future is basically the apocalypse. So maybe the plan is to reverse time so they can live in a better world, then millennia later reverse it again, and on and on so they can just inhabit their ideal world at all times?
I think John David Washington brought more to the movie than Nolan brought out of him. I agree with everything you said, but I think that was fully him because he’s a really good actor who was actually IN that situation of being a Black American blending in with British snobbery.
I assumed destroy because of the “bomb that can end all of time and space” being detonated seemed integral to their plans.
You’re not wrong in your general criticism of the movie, but the motives of the future people were actually explained. Sator tells the Protagonist that the future was so messed up that the people who live in it were banking on being able to kill their ancestors in order to fix the world without killing themselves in the process (hence all the references to the grandfather paradox).What’s funny to me, though, is that this in itself makes no sense: either the future-people kill their ancestors in the past and it changes nothing – thus leaving them trapped in a dismal world – or it DOES change their past and thus they’re all wiped from existence. The only way their plan would ever work is if killing their ancestors in the past removed the consequences of all the actions they ever took, EXCEPT giving birth to the future people. So the physical world would behave as if their ancestors never existed, but for some reason it’s still populated by the future people despite their ancestors never having been alive to give birth to them.Which leads me to wonder… Does Christopher Nolan think that ‘the grandfather paradox’ refers ONLY to grandfathers and literally nothing else??(NB I enjoy Nolan’s movies, and even Tenet to an extent. It is a bit of a misfire, though)
The plan was not to kill specific people from the past, it was to reverse the prevailing winds of time. Thing is, no one knew what would actually happen when the algorithm was activated. It’s related to inversion, but it’s not the same thing. It might have a large chance to destroy the universe, but it doesn’t matter to the future people. Like Sator, if they can’t have it, no one else can.
There’s SO many plot holes in that movieThere were so many plot holes in that movie I got hypothermia from the waist up. [Hitchcock and TV Tropes joke]
“I truly believe Nolan thinks he made the greatest movie ever made with Tenet”Based on what? Because it seems to me that you made that up so you can get angry at him over something he’s never said or implied.Also, your so-called “plot hole” was explained in the movie, and even if it wasn’t explained, it wouldn’t be a plot hole.
What a silly expression the main character is making in the picture you chose for this article.
Agreed on the selections from The Invisible Man, Alone, and The Assistant. Hmm, I’ve been watching a lot of “men are scary” films lately.
In my estimation, the montage scene from Palm Springs is better than anything else on this list. It’s also the best movie I saw this year, or at least the most entertaining.
I made the same comment earlier this week in a different section of the internet (that Palm Springs was the best movie I’d seen this year). Glad to see there’s at least one other human who thinks that! The montage was great.
Totally! It’s such a wonderful film. I went in expecting it to be shamelessly derivative of Groundhog Day (an all-timer), and was completely taken aback by how much I enjoyed it (despite the similarities). Samber and Miloti had phenomenal chemistry. It was the perfect quarantine movie. Loved it. And yes, grinning ear to ear during the montage!
A slideshow? Ugh. Without going through it these are my picks so far:Tracking shot across town – The Vast of NightFinal scene between Riz Ahmed and Paul Raci – Sound of MetalA capella “Silly Games” – Lovers RockTitular scene – Never Rarely Sometimes Always“Sailing” – Summer of 85
Take your browser window off of full screen and narrow it a bit. It’ll switch to mobile view and you can just scroll through all of it without slideshow.
Not clicking through. Tell your overlords.
I’m so glad The Assistant was included. That scene was amazing! loved the movie.
Having just watched Black Bear I was *really* hoping to see the shooting of the last scene of the internal film. Aubrey Plaza was incredible and I hope she get allll the notice for it.
If the Sonic movie was just two hours of Robotnik dancing then I think it could have been an improvement. I liked how he went from hi-tek with all his computers to low-tek with his zippo, back to hi-tek and never lost a beat. And all of his stuff was labeled “evil”
The title image scene from Tenet..I HATE double-breasted men’s jackets, but holy shit, Robert Pattinson sells it like some sort of hot WASPy model from the mid-80s (that’s a compliment).
The Vast of Night opening shot is a ripoff, sorry “homage” to F For Fake.
Birds of Prey – a couple of posts here have already mentioned the sandwich scene, culminating in Harley’s dramatic, silent scream as the sandwich is destroyed at the end of a chase sequence.The Broken Hearts Gallery – the karaoke bar sequence, a rom-com staple, done really well here (particularly since it serves as an excuse to have Phillipa Soo sing).Emma. – the infamous Box Hill picnic, the moment where the erstwhile feather-light story suddenly acquires emotional stakes.Mangrove – you could cite a lot of things from the “Small Axe” project, but I’ll go with Letitia Wright’s brilliant speech, which I saw just under the wire before she revealed herself to be a moron on Twitter.Onward – the twist at the climax, which is the point where what had heretofore been an above-average Dreamworks production became a proper Pixar movie. In retrospect it should have been obvious, but they concealed it well.
Spot on about Onward. Good call
Wait, there were movies in 2020?
This might seem like I’m damning a movie I liked a lot with faint praise, but the best scene from Tenet was the kitchen fight and everyone knows it.Also really enjoyed the red room/blue room sequence a lot.
The freefall in Weathering With You. An awe-inspiring scene where the central pair refuse to mince words, professing their love and their defiance against the outside forces threatening their love. The accompanying song is wonderful, building up to an ecstatic emotional crescendo that complements the scene.
I haven’t seen much (I’ll blame the pandemic, but the truth is I’ve been slacking) but I agree with The Assistant, Never Rarely Sometimes Always, Borat 2, and Sonic. I think The Invisible Man’s better scene is the one at the restaurant, Tenet’s better scene is the backwards highway chase, and Birds of Prey’s better scene is the sandwich.But with the exception of Never Rarely, I’m lukewarm on all these films anyway. I know I say it every December, but this time I really mean it: The movies this year were ‘meh.’ That said, let’s have some fun! ***SPOILERS***
Of all the future scenarios in Bill and Ted Face the Music, I most enjoyed the pot-bellied versions squatting at David Grohl’s fancy home
I was amused by the Right vs. Left satire in The Hunt. Betty Gilpin kicks ass in the middle of it all, and it ends with my favorite kitchen fight since Kill Bill
Unhinged let’s Russel Crowe’s road rage tap
into the unchecked id in all of us. The gas station scene shifts this
popcorn thriller into its next gear
The problem with the Tenet scene is that it was an empty plane. So who cares? The 1997 movie Volcano blew up an empty building, but they still had the good sense to throw a stray kid in there for some tension. In Die Hard, Bruce Willis has to get off the roof. Keanu has to get off the bus. Bill Pullman has to get out of the White House. Without any narrative suspense they’re just blowing something up for the sake of blowing something up. John Woo also crashed a plane into a hangar in Face/Off and it was the climax to an action scene where the villain was trying to make a daring escape. In Tenet, it was just part of the heist. Just clockwork. Nolan had no passengers to save, no stakes, but we’re supposed to marvel at the explosion anyway. For the sake of it. He should be better than that.
Tenet had about 2 and a half hours of brilliant set-pieces, but I’m surprised the opera scuffle didn’t top the freeport crash – I thought the smaller drama of the fist-fight was more exciting than the plane crash, and while the fight choreography was insanely cool, when our heroes go BACK to that scene its more impactful than the first time trhough it. Tenent’s masterpiece scene had to be the opening.
2020 highlight for me was traveling up to the tropics. I feasted on mango and smoked salmon, walked through rivers, and then there was this, taken moments before the green ants saw my stick and everything got out of hand quick. Me and my curiosity: