Jason Huang (黃擎元)’s review published on Letterboxd:
Screw it, I think this movie's quite good. I have flaws with it, of course, and the extremely fast pacing makes it kind of hard to really fully connect with the Protagonist (LOL), but man do I admire the ambitious concept and how the narrative plays out.
It feels up its own ass at times, and overall, the plot is a lot more convoluted than necessary, but watching this in an actual theater this time just gave me such a rush! As soon as the film started, I was riveted! The opera scene is great, the score is great, and the scene where they extract the Plutonium-241 is extremely well-done. I gotta say, for a movie that doesn't make that much sense, it's quite a thrilling ride.
I honestly thought the movie was quite funny at times, whether intentional or not. And yes, the sound mixing is complete garbage. Why is there a scene where we hear a bunch of loud-ass waves and boat noises, but the characters are talking at a volume of two decibels, and it's delivered through a mask or some shit? Please Chris Nolan, fix this shit for your next film. This type of incoherent dialogue worked extremely well for Dunkirk, where the dialogue just literally did not matter, but for a movie that requires a lot of explanation and shit, some clarity would help.
Great actors all around. Love watching Pattinson and Washington together, and it's wonderful to see Debicki absolutely tower over everyone. Glad Nolan still had her wear heels. And that scene where she's literally unlocking the front door while she's sitting in the backseat... she's literally the main character of Tall Girl!
I watched this at a drive-in theater the first time, and the car turned off while Barbara delivered the greatest movie line of all time, "don't try to understand it, feel it", so I am very glad I got to hear it in its full glory this time. What a silly movie. Still in awe just thinking about the scenes where people and things are going backwards and forwards in time simultaneously. Honestly, this is probably one of the only large-profile release of 2020 that didn't disappoint me (sorry Kaufman and Fincher).