We have seen elements of this southern thriller style wow us, even in recent Hollywood history (No Country for Old Men and There Will Be Blood both come to mind), and so the problem certainly isn't the content in this adaptation. It seems instead that the lack of narrative drive found within the violence itself makes it more appalling than drawing, more puzzling than thought-provoking. The result is a film that has impressive moments elevated by a terrific cast that get lost in a bloody and murderous attempt at commentary on the southeastern United States. Just as one character mentions that "Some men were born just so they could be buried," it turns out the same is true for some movies.

In SPVTW, a modernistic audience is forced to admit the presence of the supernatural as an assumption going into the story, allowing the characters to embody dramatic flaws and successes that serve as greater vehicles for commentary on the human condition. The result is a refreshing take on our modern storytelling, a myth that is messy and magical, at once otherworldly and strikingly human.

All in all, it seems that Tenet is par for the course for Nolan, a movie with enough technical wizardry to satisfy the cinephile and enough big-tent appeal to satiate the casual moviegoer. Yet for a film touted for its creative time-bending, it also seems clear as the closing credits roll: Nolan is undeniably stuck in his ways.

Just as Bryan's rearview mirror reflects upon his eyes as he drives through the Alabama night, illuminating his sight in spite of the darkness around him, we as an audience are challenged to open our eyes, to hear the stories, to fight for justice with a radical hope that transcends our broken systems. Maybe then we will see what just a little mercy can do.