With superhero films and big-screen action films on hold, the action fans of the world have to get their ‘fix’ in small doses. Fortunately, for us, in the case of Nobody, small doesn’t diminish the quality of the Action. Visually arresting, Tenet is a narrative mess. And The Disciple is the opposite of action, but can be a rewarding watch.

Nobody (Video on Demand) - Structurally, this is an action/revenge film that’s been done more times than there are COVID cases in the world. But thanks to the crisp writing, the more than fast pacing, the truly impressively choreographed fight scenes, and most of all, the acting of Bob Odenkirk as the lead character - there’s a cool sense of perfection in this little gem of a film. It starts off with impressing upon us just how much of a domesticated punching bag Hutch Mansell (Odenkirk) is. His wife builds a wall in their marital bed, and life is a mundane repetition day in, day out. Even his son seems to have no respect for him, and it’s only his younger daughter who keeps the faith.

When a break-in at their family home occurs, Hutch is once again left looking like some sad sack failure. It’s when the daughter looks for her Kitty Kat bracelet that something snaps in Hutch, and he turns vigilante. A scene on a public bus, that comes around the 15- minute mark, breaks the dam, and the rest of the film’s running time is a rapid fire orgy of visceral action, sardonic humor, and a true thrill-ride. Back to the Future’s Christopher Lloyd has a wonderful support role as Hutch’s father. Some may gripe about how the wife & kids are mere caricatures, but the film doesn’t suffer for that. What makes the film is how Odenkirk nails both the loser persona, and the sudden shift to man with deep, dark secret past life. If it had been Bruce Willis, or even Liam Neeson, the loser part wouldn’t have felt so ‘real’. Odenkirk shines in this film, and action fans will be overjoyed.

Tenet (Video On Demand) Finally got to watch this new Christopher Nolan, and to paraphrase Charles Dickens, it’s ‘the best of Nolan, and the worst of Nolan’. It’s Nolan essentially giving us his James Bond film, but via Inception and Memento. First, the best of Nolan has to do with the stunning visuals, the locations & camera angles, and imaginative use of Special Visual Effects. Each frame is suffused with the kind of budget only a Nolan can command, and it works to keep us visually entranced by what’s acting as stimulus for our eyes. The problem I found with Tenet, the worst of Nolan, is the moment you try and engage your mind as well. If you think there’s actual rhyme or reason behind the narrative, or that careful attention will make you marvel at the storyline, you’ll be sorely disappointed or deeply confused.

To glean the meaning of this film, a lot is said about how Tenet is the same whether spelled forwards or backwards. But in fact, it doesn’t really matter. Nolan is playing with the construct of Time more than anything, about Cause & Effect being something malleable. And he has an impressive cast trying to help us out - past Nolan-film stalwarts like Kenneth Branagh and Michael Caine, along with lead actors John David Washington, Robert Pattinson, and Elizabeth Debecki. But only Pattinson seems to know that the basic thing is to have fun, and not care if the narrative is making any sense. Believe me, the effort is made to have this film explained; but taking the advice of one of the early characters, the lady scientist, it’s better to just ‘feel’ the film. Anything more is just too tiring, and not worth the effort.

The Disciple (Netflix India) - Written and directed by Chaitanya Tamhane, this film tracks the life of an individual artist, a man devoted to studying and performing as a vocalist of classical Indian music. There’s a determination to his dogged pursuit that has to be admired, but what makes this film stand out is the fact that the wannabe artist we’re following is, at best, mediocre. He has a modicum of talent, but it’s just neither singular or exceptional, and he’ll always be passed over by others. There is an irony in making such an artist the subject matter of this film, but it is a revealing glimpse into the world of Art, how so many may choose but so few chosen - how constant practice and blind devotion still might not be enough.

This film travelled to both Venice & Toronto last year, and earned plaudits. The atonal droning of Indian music may not be that easy to appreciate for a Filipino audience weaned in on Western Pop, but there is something arresting about following the plight of this frustrated singer. Alfonso Cuaron serves as Executive Producer of this film, and you can see why this version of Art as a muse for life, no matter how misguided, would hold appeal for him. The film follows the artist over years, so you can appreciate how much of a passion project this would have been for Tamhane, skirting between drama and documentary.