This defining movie guide and blog companion contains a plethora of equally passionate and subjective movie reviews published by the title-giving nerd on his blog rafenew.world between 2015 and 2020. The second chapter gathers even more (German) pieces written for his former website nidwirkli.ch between 2003 and 2006. Some of the older texts may not have aged too well. But they bear not only witness to the coming of age of the author’s writing style, taste and character – they document two decades worth of evolution in cinema, pop-culture and society itself. Each one of the more than 160 articles comes with its own QR Code, providing an interactive experience including free videos, graphics and even more digital content available on rafenew.world. Being first and foremost a vanity project, this title delivers hours and hours of reading material, opinions, trivia, callbacks and, most important, fun for everyone lucky enough to have been a child in the eighties.
About the Author
Raphael Röthlin – designer and software engineer by trade, nerd at heart – was born and raised in a small Swiss farming village. Today he works and lives in the city, in a nice apartment – without a cat, but making the best of the situation.
…TENET of review this of part first the do algorithm some let and code the up start let’s so, today it feeling not I’m. review very This? too, heart lacks what know You.
late too payoff little too with work like much too way feeling – heart and elegance lacks movie the end the in But. well really does normally Nolan that stuff good that all – clever, ambitious, interesting be might TENET, Sure.
starts part second the once care really even to boring too way it’s but, story the up set to way necessary the be might measure good for idea the repeating and devices-plot some planting, concept the explaining of part first whole The. ticket? (movie a for line in wait to had one when days the Remember). itself movie the see to line in waiting prolonged like feels Which. idea the to adjust audience the let to runtime the of part big really a invest to has movie the abstract so is recursion of concept underlying s’TENET that is problems the of one think I.
cast (the considering, disappointing rather was acting the especially) shtick its on heavily too relying than other quality much without ass own its up far too just It’s. much so not, TENET.
«Darko Donnie» or «Primer» like plot the follow can who anyone flatter they crafted-well but complex so are that ones the and hand one on «Endgame: Avengers» or ones «Terminator» good the, «Future The To Back» like details practical the into get to bother don’t that ones the probably are stories traveling-time best The. pretentious even – good own its for ambitious too, messy gets it, enough down dumbed not if that, is are (films travel-time most guess I which (movies concept high with problem The.
all at me for work didn’t movie the But. time long, long a in experience theatrical first my it’s since especially, love to liked really, really have would I movies those of one It’s: way good a in not but, speechless me let, Movie The-Gimmick: it call to like I as or TENET or as I like to call it: Gimmick-The Movie, let me speechless, but not in a good way: It’s one of those movies I would have really, really liked to love, especially since it’s my first theatrical experience in a long, long time. But the movie didn’t work for me at all.
The problem with high concept movies (which I guess most time-travel films are) is, that if not dumbed down enough, it gets messy, too ambitious for its own good – even pretentious. The best time-traveling stories are probably the ones that don’t bother to get into the practical details like «Back To The Future», the good «Terminator» ones or «Avengers: Endgame» on one hand and the ones that are so complex but well-crafted they flatter anyone who can follow the plot like «Primer» or Donnie Darko.
TENET, not so much. It’s just too far up its own ass without much quality other than relying too heavily on its shtick (especially the acting was rather disappointing, considering the cast).
I think one of the problems is that TENET’s underlying concept of recursion is so abstract the movie has to invest a really big part of the runtime to let the audience adjust to the idea. Which feels like prolonged waiting in line to see the movie itself. (Remember the days when one had to wait in line for a movie ticket?). The whole first part of explaining the concept, planting some plot-devices and repeating the idea for good measure might be the necessary way to set up the story, but it’s way too boring to even really care once the second part starts.
Sure, TENET might be interesting, ambitious, clever – all that good stuff that Nolan normally does really well. But in the end the movie lacks elegance and heart – feeling way too much like work with too little payoff too late.
You know what lacks heart, too? This very review. I’m not feeling it today, so let’s start up the code and let some algorithm do the first part of this review of TENET…
When Arnold and some nice callbacks to the originals save the movie in this highly forgettable retcon-adventure, «Terminator: Dark Fate» proves that pure gender-swapping alone in an otherwise paint-by-the-numbers action flick doesn’t make a women-empowering film, let alone a satisfying cinematic experience.
Badass Linda Hamilton was cool, though!
And I’d like to see more of Mackenzie Davis in a tank top.
Wow, this almost progressive text turned chauvinistic on me so fast I couldn’t even spell out the obvious «TARminator» pun.
«Ad Astra’s» slow pacing and existential themes probably won’t be for everybody. But almost exactly 20 years after «Fight Club», Brad Pitt once again hits me where it really hurts – for completely different reasons:
The focus on life has shifted, as they say. The now middle-aged Rafeman, who – once tempted by Tyler Durden’s nihilism – now understands the suffering of «Ad Astra’s» protagonist’s fear of loss, isolation and regret just all too well.
For what it is – namely an ethereal «Sci-Fi» movie – «Ad Astra» succeeds. Surely not as gut-wrenching, spectacular nor intense as «Project Mayhem» – but as effective and relevant a movie that’s aiming for the stars bound by its own limitations can be: Trying to be the next «Gravity» (with George Clooney) or «Interstellar» (without George Clooney) but ending up feeling more like the slightly disappointing «Solaris» (also with George Clooney).
But, as they also say: «Per aspera ad astra»*
Music and Sound
*) «Through hardships to the stars». Just to get that quote in there, too.