Old 07-16-2010, 05:17 PM
Christopher Nolan's Inception

Here's the link to the published version of my review in my column at The Richmond Examiner:



Inception (2010)

In my humble opinion, Christopher Nolan is the single greatest filmmaker working today. Yes, even better than Quentin Tarantino and Martin Scorsese. No one can tell a story quite like Nolan can. In "Memento," he took us through the film completely backwards in order to identify with its main character who had no short-term memory. In "The Prestige," he slowly unveiled a story of two rival magicians where things were not quite what they seemed. This time around, he takes us to the land of dreams and beyond.

Cobb (Leonardo DiCaprio) is an expert at extraction, the art of invading someone's dream and stealing their hidden secrets. The film begins with him doing just that to a businessman, Saito (Ken Watanabe), who has secrets that another company wants. However, after this mission, Saito wants to hire Cobb, not for extraction, but for the infinitely more difficult mission of inception, the planting of an idea in someone's head in such a way that it seems to have been created naturally.

The man Saito wants to do this to is Robert Fischer, Jr. (Cillian Murphy), the son and heir to a wealthy businessman who owns a business empire and is very close to death. The idea that he wants inserted is to have Robert break up his father's company in order for Saito's business to be able to compete. To do this, Cobb collects a team of experts: Arthur (Joseph Gordon-Levitt), his partner-in-crime, Ariadne (Ellen Page), an architect who can create the dream environment, and Eames (Tom Hardy) and Yusuf (Dileep Rao), who handle other parts of the process.

While it's not really clear what his team would get out of it besides a fascinating experience, Cobb has a personal stake in this mission. We learn that he has been on the run for awhile because of his trips into dreams, but if he is able to complete inception, Saito claims that Cobb can go back to his regular life.

The strongest attribute that "Inception" has to offer is its amazingly intricate story. Nolan tends to create films that work on different levels, but in his latest, he takes that to a new literal extreme. Simply going into somebody's dream wouldn't be good enough. There has to be more, there must be layers. In order to achieve the ultimate goal of inception, there's not one layer, or even two, but four (if I'm even counting these layers correctly).

Nolan juggles all of these layers so very carefully to make them connect and make sense since each previous layer has a profound effect on the next which leads to some of the film's craziest moments, but more on that later. It is said that Nolan worked on this screenplay for about ten years, which is understandable. Trying to put this entire vision together could not have been an easy task. If he changed even one thing, he would have to see how that would affect the other layers of the story.

For example, in their regular missions of extraction, something like a fall or dipping into a pool of water would cause someone to wake up, but these rules begin to change for the crew when they take on the task of implanting an idea, something that has to be done so deep that it requires sedation. An example of the rules in this mission occurs during a car chase where there is a momentary loss of gravity. However, when this affects the next layer, the effect is compounded.

This is something else that Nolan explores throughout the film, time within dreams. On the first layer, we are told that an hour in a dream is equal to about five minutes in reality. Now imagine this effect compounding down through different layers of dreams (the best way I can think of describing it is as the subconscious, sub-subconscious, etc.). A few seconds in one layer is equal to a few minutes in the next layer is equal to even more time in the next layer.

Nolan uses ideas like this, not merely for convenience, but because they make perfect sense. When you dream, are you ever aware of how much time has passed? Dream time can seem infinite, whereas not much time might have passed back in reality.

This idea of extended time is one of the things that leads to another great attribute of "Inception," that being its special effects. The most notable sequence where these are used (I say "used" and not "shown off" because the effects are necessary to the storyline) involves a battle in a hotel corridor, where the laws of physics don't seem to apply, and the events surrounding it. Small parts of this sequence had been used to tease eager film-goers, but to see it play out is more wondrous than one could have imagined.

This is a film that will no doubt spark debate, especially with the ending, which is left open to interpretation, begging the same question that floats in everyone's mind throughout the film: Is this reality or merely a dream? It's a lot to take in on one viewing, so more than likely it will take two or more to discover the depths of interplay between the different levels of the subconscious.

One thing's for sure, Nolan has cemented himself among the great filmmakers of our time, not only with this film, but with most of his other works as well. I eagerly anticipate Nolan's next project, whether it be the sequel to "The Dark Knight" or another completely original work like this one. With "Inception," the peak has been set for 2010. Will other films dare to dream as big? 4/4 stars.

Last edited by Hal2001; 07-16-2010 at 05:58 PM..
Reply With Quote
Old 07-16-2010, 06:19 PM
Inception was mesmerizing! In a summer littered with bad comedies and mediocre action films, Inception sets the bar high for the remainder of 2010. Nolan has struck gold once again providing audiences with his best story since Memento. Expectations were exceedingly high for this film and Nolan surpassed every expectation I had going in.

Leonardo DiCaprio stars as Cobb, an expert in extraction, which is essentially stealing secrets from people's subconscious while they dream. DiCaprio shines in this role. Cobb is a troubled man who is racked with guilt from the death of his wife (Marion Cotillard). Cobb is desperately seeking a way back to his life with his family and is provided with a solution by businessman Saito (Ken Watanabe).

Saito offers to provide Cobb with a way out if Cobb will perform inception on the son (Cillian Murphy) of a dying CEO. Inception is the act of planting an idea in the mind of a person and making it seem like it was their original thought. Cobb's team associates played by Joseph Gordon-Leavitt, Ellen Page, and Tom Hardy provide Cobb with the necessary tools to perform the mind boggling task of inception.

Cobb and his team must travel into multiple levels of the subconscious in order to perform the act of inception. These different levels of the subconscious are all affected by the other levels, both in terms of physics and time. The idea is that the more levels you travel to, the longer the time will seem. For example, the film states that 5 minutes in reality is equal to 1 hour in the dream. This time difference increases exponentially as you travel further into the levels of subconscious.

Nolan does a magnificent job of telling the complex story of Inception without losing the audience in the confusing concepts concerning reality and the world of dreams. The main story is coupled with a very interesting subplot concerning Cobb and his deceased wife and Nolan's ability to tell both stories is nothing short of amazing. My favorite part of Inception was the story. Nolan did not go the route of most movies this summer, replacing a solid story for explosions and CGI. Nolan's use of special effects, highlighted by an anti-gravity fight, was awesome!

The cast provides some of the best ensemble acting I have seen all year. DiCaprio is absolutely great as the troubled leader Cobb and Gordon-Leavitt really lights up the screen as Cobb's right-hand man. Ellen Page demonstrates that her character from 2007's Juno is not the only trick up her sleeve as she provides the team with a voice of reason as well as being the team's dream builder. Ken Watanabe is surprisingly good as the team's director, and Tom Hardy and Cillian Murphy are terrific in their supporting roles.

The music was fantastic and served only to help the film, not distract from it.
The entire film had my mind racing and the ending certainly left me thinking. A second viewing is certainly recommended to further understand the story but this film will impress you no matter how many times you see it. Inception, a movie about dreams and reality, should be the perfect wake-up call to all movie fans this summer searching for greatness.


Last edited by DorkisFig; 07-16-2010 at 08:28 PM..
Reply With Quote
Old 07-18-2010, 09:29 PM
Damn I cant wait to get this on Blu Ray...good reviews fellas.
Reply With Quote
Old 07-19-2010, 12:43 AM
When it comes to great movies, there is always that sense that it was perfect in your eyes, but you have no inclination to ever see it again. Perhaps you will want to see it one more time, but thatís pretty much it. For example, I love Jaws, itís one of my favorite movies of all time, but I always feel that watching once every few months is more than enough for me. I always make it a habit to watch it once every summer when I get the chance. However, there are grand movies that just make you want to watch the movie the second you have watched it for the first time. Just about every aspect of the movie is entertaining, and you just canít get enough of it. One of those movies is Inception, the newest film from the great director Christopher Nolan.

To speak about the story of Inception would be a grand disservice to you fellow readers. The only recommendation would be to simply watch the trailers, then to see the movie on that basis. From there, you will be sucked to a truly imaginative and emotional story. It helps that the cast ensemble is more than willing to take up the task of the story given to them, and everyone performs great. Leonardo Dicaprio is the heart of the filmí story and, along with his performance in Shutter Island, is becoming one of my favorite actors. He delivers the vulnerability and focus towards the flawed character, allowing viewers to be invested into his turmoil.

The rest of the cast never fall along Dicaprio, but rather pushing him towards what he can bring to the film. Next to Dicaprio, Joseph Gordon Levitt is another actor that Iím beginning to enjoy more and more. Ever since 500 days of summer, I became a fan. In inception, he brings a serious, but very cool demeanor in the film that will have viewers cheering him on throughout the film. Ellen Page brings a kind and nurturing performance as well, serving towards the emotional back story that Dicaprioís character has to deal with throughout the film. Tom Hardy plays the cocky, yet efficient character to the tee, bringing out the charismatic action heroes of previous years, and being the crux of some of the filmís comedic moments. Marion Cotillard oozes beauty, as well as acting chops. Her scenes are highly emotional to the story, and perhaps even suspenseful. Ken Wantanbe and Cillian Murphy also bring their acting chops for the movie as well, and Dileep Rao, while mostly in the background, still gets to shine in the moments involving his character.

Now, with excellent actors in this high caliber movie, Nolan delivers a grand scale that is more than willing to set the stages of these characters. The visuals, locations, and action sequences are high octane and intense, accompanied by hans Zimmerís intense score, that harbor the stakes that are on the line for the characters. The best part about the visuals is that they are a part of the story as well, unlike in some movies where the visuals are there, but thatís all they are. In inception, the visuals are there, but Nolan doesnít simply have them appear. He has the characters interact with the visuals, bringing about awesome scenes that deliver each time. Along with visual effects, Nolan brings up ideas that are central to the story that will definitely relate to the viewer in some ways. Granted, itís not overbearing, but there are those little nuances that the viewer will look at and think ďYeah, Iíve had thought about that every now and again.Ē

The most essential part of this movie, and quite possibly a deterrent for some movie goers, is the way Nolan treats this story. Itís not just a simple summer blockbuster with bangs and whistles, but a movie that people will need to pay attention and absorb the movie. This could be a hindrance, and I thought it would be too confusing, but the movie treats the details very well for movie goers to follow. In fact, thatís one of the reasons why this movie is amazing, the knack of having all these things delivered to the audience that could overwhelm them, but also lead them to catch the movie again in order to grasp a bigger picture of what this movie had to offer. It can start discussions of the different details and themes, and allow them to bring different ideas that they come up with themselves.

Inception is the ultimate summer blockbuster, as well as my favorite movie this year. It handles a deep, complex yet entertaining movie, action sequences that are involving and hypnotic, excellent acting all around, and a director that handles it all with grace and class. This is Christopher Nolanís masterpiece, a movie that is simply on another level from what this summer season has to offer, and a movie that I wouldnít hesitate to see again and again.

Reply With Quote
Old 07-22-2010, 10:34 PM

Inception - RATING: 9/10

What is perhaps even more fascinating that his actual films is the way in which writer/director Christopher Nolan manages to craft them. There is a certain fastidiousness to his work as a storyteller, never failing to work his way through labyrinthine plot outlines to a tee and populating them with compelling set pieces, moral ambiguities, and hordes of suspenseful twists and surprising turns. And yet aside from his capabilities in the excitement and suspense of his stories, thereís also an underlying sense of thematic maturity to his work as we find ourselves lost in a common thread that is woven throughout his oeuvre; a thread that consists of characters who become psychologically corrupted by obsession as a result of loss. But all in all, in addition to these assets, I believe that what has really brought Nolan all the acclaim and attention he deserves is his sheer knack for originality (even to the point of incorporating a ton of it into one of the biggest franchises of all time). And if thereís one film of his thus far that exemplifies his talents as a storyteller to their most grandiose, ambitious and intricate extents, itís Inception.

In my several attempts to analyze and interpret the film, it comes to no surprise that it took Nolan a mere ten years to fully develop his ideas and iron them out into a screenplay. The central idea itself is great enough, focusing on thieves who share dreams with their targets through a certain technology in order to steal ideas (well, thatís the short of it, really). But the way in which Nolan elevates this concept to its full potential, engulfing with intricate detail behind every facet of the titular process, a fun ensemble of characters led by an intense and brooding protagonist, and of course, a plot that is absolutely thick in layers and twists and turns, is so astute and contemplatively structured - itís almost as mind-boggling as the plot itself. It would be completely justifiable to say that the less one knows about the filmís story upon first viewing, the more likely one is going to enjoy it that much more. This is a film that needs to be unraveled layer by layer, dreamscape by dreamscape, idea by idea.

Itís quite admirable to see how a director, especially one who is helming such a gargantuan project as this, can put so much faith in his audience. There have been several claims that Inception may as well be too ďintelligentĒ for average, mainstream movie-goers, but I hardly find this to be the case. Iím sure there will be many audiences who will get lost within the filmís at-times complicated structure, but it is not the plotís labyrinthine style that grants it its intelligence. Nolan does more than just pull the rug from under our feet with the unpredictability of his story; heís too smart of a storyteller to stop there and leave us simply amused. What he also gives us a fresh perspective and a wide canvas for ideas. And what fascinating ideas they are. We are given an inside look into a surfeit of ideas concerning the nature of dreams, the vitality of ideas, the risks of obsession, and the costs of guilt and redemption. By giving us such a wide array of fascinating layers to go along with the smooth entertainment of it all, it would be fair to say that Nolan has successfully found a sly, genius way to please his audience as well as challenge them to pull up a chair and strike a conversation at the same time.

The talent in front of the camera also makes the film nearly impossible to not reach the heights of bravura. Everyone from Ellen Page, Joseph Gordon-Levitt, Tom Hardy, Cillian Murphy, and Michael Caine all bring so much life, color and deeply rich chemistry to the film and they only add to the accessibility of it all. And as the lead of the film, Leonardo DiCaprio lends his vulnerability and presence in order to create an all around convincing and sympathetic protagonist - tortured by guilt and corrupted by obsession. And on the technical end of the spectrum, thereís no end to which Inception doesnít excel, especially thanks to frequent Nolan collaborator Wally Pfister, whose cinematography only enriches whatís on screen and only adds to the sheer virtuoso of the experience.

All in all, Nolan has done the impossible. Heís an art-house director who has infiltrated mainstream cinema, taken it by storm, and is making mainstream audience all the more exposed to quality, intelligent filmmaking, giving us the kind of blockbuster that Spielberg would have made in his heyday, while at the same time incorporating the complexity of something by Hitchcock. I believe that the inevitable intense word-of-mouth will only bring Inception more success, and for Nolan to get all audiences pulling up chairs and having discussions about their own interpretations of a film is truly a remarkable feat and not only a testament to his creative prowess, but also a glimmering sense of hope and sheer joy that we have a filmmaker whoís producing such original, engrossing, and thought-provoking work on this grand of a scale.
Reply With Quote
Old 07-25-2010, 06:11 PM

(Christopher Nolan, 2010)

Are movies an art form, or are they nothing more than an entertainment, a product? This is the eternal argument that has been the driving force behind almost all film-related discussions over the past century. Especially in the past 30 or so years since the late 1970’s, when a group of filmmakers who set out with one very simple goal – to make films that would be entertaining and enjoyable for the masses, and not just for the thinking elite – essentially created the “blockbuster”. Films like Jaws, Star Wars and E.T. made so much more money – and so much faster – than any other movie before them; moviemaking would never be the same again, and after the artistic breakthrough of the “New Hollywood” auteurs of the 70’s, Hollywood reverted to its old self: a money-driven industry that puts out a product, sells that product, and makes a profit. Except this time around, post-70’s, Warner Bros, Paramount and Universal were no longer just film studios, but small parts of massive media conglomerates interested in bottom lines, gross revenue, stock value, and other such corporate concerns. For the past 30 years, the divide between “arthouse” cinema and “mainstream” got bigger and wider. But every once in a while, an exception would come along: That rare hybrid between an unabashed action-driven piece of entertainment and a complex, thought-provoking “art” film. Inception is just that – a deep, intricate, philosophical study of the nature of dreams and thought wrapped up in a high-octane, action-heist-thriller – and it is hands down the best exception to the “art versus entertainment” rule since The Matrix debuted over a decade ago.

The driving force behind this anomaly is director Christopher Nolan, whose entire career is composed of these “crossover” films – deep art house think pieces disguised as grand, thrilling blockbusters. Even his earlier, smaller-scale independent film Memento was, at its core, a typical Hollywood mystery/thriller, with the added twist of being told backwards. What is so incredible about Inception is not only how easily Nolan manages to combine the two worlds, but how general audiences seem to be quite receptive of his technique. The film is quite intellectual and requires a certain mental investment on the part of the audience, but Nolan manages to avoid making it feel condescending by combining his ruminations on dreams, love, reality and thought with some of the most thrilling, exciting, well-choreographed and brilliantly realized action set-pieces since, well, The Dark Knight. Nolan’s genius lies in his ability to achieve the perfect balance between a brilliant, thought-provoking premise and some good old-fashioned, high-octane thrills. Over the past decade there have been many films that tried to achieve this same balance and combine a high-concept idea with action scenes – I, Robot, Surrogates, Gamer – and yet, none of them managed to reach anywhere near the level of Inception. I suppose that is a testament to nothing more than Nolan’s pure, unadulterated talent. The fact that this film is based on an original screenplay written by him and not on any material previously published, is not only a rarity these days, but also, further proof that Nolan is without a doubt the single smartest and most capable auteur working within the confines of mainstream blockbuster cinema today.

But it’s not just the premise that is genius; that would be too simple. Nolan is too smart to stop there; he goes one step further and anchors the film to a strong, resonant emotional core, thus engaging an audience on a level beyond the face-value cleverness of his premise and its execution. Sure, it’s a grand, epic, special-effects-driven thrill ride with a simply brilliant premise; but at its core, Inception is a film about its protagonist, Dom Cobb, and his personal battle with his inner demons. Nolan constructs two parallel arcs to the film that converge and reach their climaxes simultaneously; one is the Hitchcockian race-against-the-clock heist film, in which the characters have a high-pressure time limit in order to achieve a certain goal. But the other is the emotional journey of the protagonist, his struggle with his past and his relationship with his estranged wife and kids, and his gradual learning to come to terms with the events he regrets and that continue to haunt him and have a major negative impact on his work and his life. On a grander scale, the film also fits in perfectly with Nolan’s other works, in line with the Auteur theory: like Guy Pearce in Memento, Al Pacino in Insomnia, Christian Bale in the Batman films and Hugh Jackman in The Prestige, Leonardo DiCaprio plays a character who is so obsessed with something, the obsession has a major impact on him and he reaches a point where it totally consumes his life.

DiCaprio’s achievement in this film is nothing short of phenomenal. It is a new peak in what are undeniably the golden years of the young actor’s career: this last decade, DiCaprio has sneakily but successfully become one of the greatest working actors, creating an incredible line-up of roles and characters, each more intense and rich than the next. His performances in pretty much all of his films since The Aviator have been absolutely sensational, and the man has also racked up a seriously impressive resume by working with pretty much every great director working today, from Spielberg to Scorsese and everyone in between. His performance as the haunted Dom Cobb is yet another incredible work of pure acting, and more than manages to serve as the audience’s main emotional connection to the film. But one cannot discuss this film without mentioning the rest of the ensemble; and what an incredible ensemble it is. Joseph Gordon-Levitt is simply fantastic in his role as Dom’s right-hand man; it is the first major role in a blockbuster film (I choose to conveniently ignore G.I. Joe: The Rise of Cobra) of the man who, in my opinion, is probably the best actor of his generation, and I hope that it will open up a plethora of opportunities for the guy to reach more mainstream appeal. Ellen Page is also very effective and sympathetic as Dom’s protťgť, whom he takes under his wing and shows the ropes and tricks of the trade. Tom Hardy is unbelievably cool in his role on the team, and proves, once again, that he is just an incredible bad-ass. Cillian Murphy is cold and chilling, but emotionally convincing, as the subject of the titular “inception”. Ken Watanabe and Dileep Rao (whom I had only seen in Drag me to Hell prior to this film) are also really effective in their performances as members of the team, and Marion Cotillard is angelic, haunting and totally effective as the driving force behind Cobb’s obsession and eventual emotional catharsis. Also worth mentioning is Michael Caine, who barely has a handful of lines in the film but still manages to leave a lasting impression.

Even Nolan’s harshest detractors would find a hard time arguing that the man is not an extremely gifted craftsman. Inception is, at the very least, an incredibly and awe-inspiringly well-made film. Like in The Dark Knight, Nolan manages to bring all the technical elements together in order to further advance his story. Long-time collaborator Wally Pfister provides the unique visual look and ominous atmosphere with his wonderfully beautiful and yet completely practical and effective visual style; it never draws attention to itself, and yet, it does have a unique, sleek, gorgeous look that is one of the main sources of the film’s visual aesthetic. Nolan always seems to know just when it’s appropriate to use digital visual effects and when he can do things in-camera, and the result is a flawless and undetectable combination of the two. The crumbling cityscape of Leo’s projection of limbo is clearly computer generated; however, Arthur’s fight scene in the gravity-bending hotel corridor is clearly nothing more than brilliant fight choreography carried out on a real, rotating set. Another of the strongest technical elements of the film that I feel deserves a strong mention is its editing – in fact, if Lee Smith does not win the Oscar for best editing come next February, I will be greatly disappointed. In the film, Nolan and Smith take the most fundamental epic blockbuster editing technique established by Akira Kurosawa and perfected by George Lucas and Steven Spielberg in Star Wars and the Indiana Jones films – intercutting between various planes of action all taking place at the same time but at different places – and apply them to a mind-bendingly original setting: instead of the planes of action being in different places, they are all one WITHIN the other, like a Russian doll. The time factor is warped as well: ten seconds of a van falling off a bridge in one plane of action translate to a few minutes of action in the second plane of action, that correspond to an hour of time in the THIRD plane of action – and the film constantly and effortlessly cuts back and forth between them. In the film, Nolan establishes that in dreams, characters can never remember exactly how we got to where they are, and this concept is established in the editing as well; there are virtually no establishing shots in the film, and we the audience join almost every scene seemingly as the action is already happening. Another very dominant element in the film is the booming, grand, epic, intense and beautiful musical score, courtesy of one of the greatest film composers working today, Hans Zimmer. It is one of his finest and most dramatic scores; a true work of musical art that compliments the film perfectly.

How much more could this film have to offer? A genius premise, a fantastic and original twist on a familiar genre (action-thriller heist film), mind-bending use of multiple planes of action, intense performances and a strong emotional core are all very impressive – and yet, they barely scratch the surface of just what this film has to offer. Nolan, clearly a well-read and educated man, tells his story using a rich language rooted in philosophical concepts of thoughts and ideas, the psychological writings of Sigmund Freud, dream theory, neuroscience, mythology, and a plethora of other clever concepts that only help to elevate the film to an even more profound level than it is already at. Ariadne, Ellen Page’s character, is the name of the character in Greek mythology that helped guide Theseus out of the labyrinth in Crete. Mal, Dom Cobb’s wife, means “bad” in Latin. The film is also chock-full of classic dream imagery: pretty much all of the types of recurring dreams mentioned by Freud and others get a visual representation at some point or other in the film: walls closing in (Cobb’s tight escape through the alleyway in Mombasa), drowning, the sensation of falling, an oppressive mob closing in, dying, and many more. And then, there’s the subject of the ambiguous ending, without a doubt the biggest conversation starter the film has to offer, and one that asks of the audience to look back and reassess everything they’ve seen prior to it in the film, and to determine what they think it all means. Like the ending of Memento, I think that the ambiguity of it is really the point: there is no “right” or “wrong” answer – Nolan’s point is that we, like his protagonists, can never truly be sure what is “real”. It certainly is fascinating – and quite enjoyable – to try and find points for and against the various interpretations of the film.

It’s not a perfect film by any means. It suffers from poor characterization of all of the characters aside from DiCaprio’s, occasional lapses in logic (such as, why does Cobb let Ariadne, a young rookie he just met, into his deepest psyche and expose his darkest secrets to her after such a short time?) and one or two plot holes, almost all of which are explained by one of the more audacious interpretations of the film. However, one can’t help but marvel at the sheer ambition of the whole thing. Nolan set out to make one of the rarest forms of film out there: a mainstream blockbuster that challenges the audience and requires them to actually think about what they’ve just seen, and based on an original screenplay, no less. It’s not only incredible that a major film studio agreed to finance this expensive, ambitious and very risky project – but, as apparent by the incredibly strong word of mouth and fantastic box office results, also equally incredible that the general public’s reaction to the film seems to be just as passionate and genuinely engaged as that of even the most die-hard “fanboys”, seemingly the main target audience for a film of this caliber. In my opinion, Nolan managed to achieve everything he set out to do and then some, and with Inception, created one of the most unique, fascinating, entertaining, thought-provoking, mind-bending, enjoyable, riveting, resonant works of mainstream cinema in recent memory.

RATING: 9/10.
Reply With Quote
Old 08-01-2010, 12:24 PM
Inception is nice Movie,I watched the movie in Theatre...It's very nice,The Background Music,The Screnply all are nice,I watched the Trailer Before watching the Movie,In here http://www.mtjunkie.org/inception-2010-07-13/
Reply With Quote
Old 08-11-2010, 05:29 PM

this is the shittest film of all time!! the only reason i didnt leave half way through was because it would have looked rude to my friends. iv just got bck from the cinema now and i want my 2 hours 30 mins back as well as my money. im in a really bad mood now, my advice is dont ever watch this movie. NEVER, EVER, EVER!
Reply With Quote
Old 08-11-2010, 07:04 PM
Originally Posted by rhiannon103 View Post
this is the shittest film of all time!! the only reason i didnt leave half way through was because it would have looked rude to my friends. iv just got bck from the cinema now and i want my 2 hours 30 mins back as well as my money. im in a really bad mood now, my advice is dont ever watch this movie. NEVER, EVER, EVER!
Crack. Helluva drug.
Reply With Quote
Old 08-17-2010, 12:33 PM

Following the development of a movie from the first announcement to theatrical release is a path filled with hurdles. The slightest misstep, whether it be questionable casting or a writer who isn't up to snuff, can severely marr the final product. Then, there are those films that, from the moment they are announced, you know you're in for something special. INCEPTION is that film. From the moment I learned that Christopher Nolan would be doing a sci-fi film, this project had my immediate interest. When the casting of Leonardo DiCaprio (one of my favorite actors) was announced, I literally jumped for joy. Each subsequent casting announcement, production photo, and story tidbit made me even more excited, but enought about that, let's talk about the film itself.

If The Dark Knight wasn't a big enough tip-off that Christopher Nolan is becoming one of the twenty-first century's most impressive directors, Inception sets that notice in stone. Here, he has made something that is completely his own creation, and the result is nothing short of magnificent.

First and foremost, there is the cast. If someone had told me ten years ago that two of my favorite movies of this year would star Leonardo DiCaprio, I would have laughed in their face. Then, he was just the boy from Titanic and an object of personal jealousy for me. Now, he has matured into one of our best and most reliable actors. With Inception, he makes his first foray into science fiction and performs excellently. Dominic Cobb, besides being a skilled corporate spy, is also a man haunted by regret over his wife's death and his long absence from his children. DiCaprio carries both the emotional and action-based scenes with equal commitment and made me wonder what The Matrix would have been like if the Wachowskis had selected a better leading man. Much as he did with the Batman films, Nolan has populated Inception with a rich and colorful supporting cast. Ellen Page's Ariadne not only serves both as a conduit for the audience and as a conscience for Cobb as he grapples with the memories of his wife but also represents a refreshing break from the occasionally too-clever indie roles Page is best known for. Ken Watanabe is always a pleasure to watch, even if his accent is a little thick at times. Joseph Gordon-Levitt adds a lot of wit, charm, and intensity to his role as Arthur, Cobb's right hand man. Marion Cotillard adds yet another excellent performance to her repertoire with her turn as the fragile yet frighteningly lethal Mal. Tom Hardy lends a great sense of humor and fun to his character and proves he is more than ready to be the next James Bond should the opportunity arise. Cillian Murphy deserves special mention for a couple reasons. Firstly, his performance in the vault and his character's realization of what his father really meant by "disappointed" spoke volumes to me, given my occasionally tenuous relationship with my own father. Secondly, it is refreshing to see him play a gentler, more sympathetic character as opposed to the villains he is best known for playing. I also noticed that Cillian has the rare gift of being able to express a world of emotion simply through his eyes, a gift shared (so far) with only one other actor working today: the great Viggo Mortensen. Lastly, even though their roles are small, Tom Berenger and Michael Caine add loads of gravitas to their characters and manage to leave strong impressions despite little screentime.

The technical aspects are nothing short of excellent, whether it be Wally Pfister's soon-to-be-iconic cinematography, the sleek and beautiful art direction, or the well-orchestrated but never overwhelming special effects. As a side note, if anyone was wondering why this felt so much like a James Bond film, it was probably because the special effects supervisor, Chris Corbould, also did the special effects for Casino Royale and Quantum of Solace. To me, though, the most impressive technical aspect is Hans Zimmer's score. More than anything else, it is the pulse of the film, giving it a liveliness and pure majesty unlike anything else. Up until now, I had admired Zimmer's work but hesitated before putting him on the same pedestal as John Williams or Howard Shore. That hesitation is now completely gone. I cannot wait to hear what he brings to the final installment of Nolan's Bat-trilogy. Another detail that really stood out for me was how stylish the costumes were. Sci-fi is known for many things, but stylishness is not one of them. I personally liked Ariadne and Fischer's suits from the Mr Charles sequence. They definitely lent a more mature and sophisticated vibe to the film, and I was not surprised in the least to find out that Nolan had a hand in designing them, as well as every other splenidid detail.

As far as flaws go, the only thing that struck me as off was the very opening scene with Cobb washing up on shore. Personally, I would have begun with Cobb's speech to Saito, which would have made the beginning a little smoother, but other than that, I can find no noteworthy flaw in this film.

For the past seven years or so, I've been looking for a film to bring back the feeling I had when I saw the Lord of the Rings. That feeling of grandeur and near-breathlessness. Several films have tried and come tantalizingly close. The Dark Knight and District 9 had the brains and brawn, but they lacked the grand scope (which is fine; I doubt it would have fit those films all that well). Avatar had the grandness, but its writing left much to be desired. Inception, however, has managed to evoke those same feelings and match LOTR inch for inch. Mr Hyde mentioned that there are great films that one can see once every few months and be satisfied (LOTR is that way with me), while there are others that demand multiple viewings, preferably in quick succession. Inception is one of those films. I've seen it three times thus far, and I look forward to multiple viewings on DVD in the future.


Last edited by corran horn; 08-17-2010 at 04:43 PM..
Reply With Quote
Old 08-20-2010, 08:14 PM
Originally Posted by corran horn View Post

The technical aspects are nothing short of excellent, whether it be Wally Pfister's soon-to-be-iconic cinematography, the sleek and beautiful art direction, or the well-orchestrated but never overwhelming special effects. As a side note, if anyone was wondering why this felt so much like a James Bond film, it was probably because the special effects supervisor, Chris Corbould, also did the special effects for Casino Royale and Quantum of Solace. To me, though, the most impressive technical aspect is Hans Zimmer's score.
Very nicely put. I agree the cinematography by Wally Pfister has continued to impress me since the Italian Job film, and especially the new Batman series. His work and the combination of Zimmer's score, compliment eachother very well which gave this film a stylistic appearance. I enjoyed a lot of this movie, and what amazed me about it was that there were full-size sets used for several of the gravity sequences such as (DiCaprio & Murphy at the bar, Levitts hallway scene), and that the sets were rotated entirely to preform the angled effect of the rooms. So I thought that was an interesting part of how this movie was put together. Great film! 9.5/10
Reply With Quote
Old 10-14-2010, 11:36 PM
i saw this movie 3 times in theaters
Reply With Quote


Thread Tools
Display Modes

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off

Forum Jump