Inception Review

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The concept is a cool one, and worthy of several months preceding the movie almost every detail having been kept under wraps. Nolan has everything he needs for a state of the art, novel plants dream Heist: A well-executed (if overly rule-cargo exhibition) concept, a very talented cast and crew (including many His “Batman” alums), and a very, very large budget. And by not only for adjusting said Heist dream novel plants, instead of selecting the probe in more depth and maybe get dangerously personal, Nolan comes darn close to making the absolute most of it.

Leonardo DiCaprio stars as Cobb, past dream invader, as it turns out, have more issues with National Geographic. Cobb leads the team of semi-altruistic dream thief (with Joseph Gordon Levitt and Ellen Page) as they set out to not steal an idea at this time, but rather plant one. For Cobb, this change-of-pace mission will mean the end of his secret criminal life as well as the end of a long period of separation from his family. The characters spend most the film breaking his own rules as stated for traversing the multi-layered reality in pursuit of his dream desperate young children, whose face he can not recall. What Cobb’s quest to reconnect with her children after abandoning the pursuit of dreams says about the writer / director of “beginning” I guess I just – and I’m not sure I want to know.

DiCaprio brings overload of having to deliver the most difficult part of the exhibition, the story explains concepts and their policies. The latter task can be one too many for others to artists, as the first hour of the movie is bringing a bright, plot-heavy weight – but DiCaprio’s casting is by no means a deal-breaker here. If anything, it adds a perhaps unintentional level of intrigue in an intriguing film when one stops to consider his recent work in this context. In addition to several other similarities to the most recent starrer DiCaprio’s, Scorsese’s “Importance of the Island”, here we find another in a trail of psychologically fractured his wives on-screen. (Add last year’s Revolutionary Road “on that list as well.) One might be tempted to point out that the trend is starting to look a little bit intentional, Leo!

One of the most interesting and celebrates aspects about the “beginning” is its brilliant (if sometimes only) movie using visual language to explain and communicate the logic and essence of dreams. The most creative moments happen quite a bit early in the film, as Cobb was Labor Ellen Page’s character, Ariadne. The scene opens with two of them chatting at an outdoor restaurant. Just as the true nature of this little meeting becomes apparent to him, he hits him, and us, with this bombshell: “How did you get to this cafe? Do you remember?” Of course, he has as much of a clue how he got to the restaurant as we are – but it has not occurred to anyone to question it, because like it’s all really a dream for him, ( and dreams are no beginnings, middles and ends only), it was just another no doubt trim-the-fat/cut-to-the-chase moments of the movie viewing for us – the kind of scene Intro we’ve been conditioned to not question, thanks to over a century of evolving language cinema has become so common, it is second nature.

This raises the notion of the basic relationship between films and dreams, perhaps very slight shedding some light on how and why some films that entrances us, become entangled in our subconscious, and haunt us in ways that the art of other media can not. Here, Nolan was obvious in the raw nerve of movie magic itself, by finding a line between basic human psychology and the art of filmmaking. The argument could be made that he will continue this exploration throughout the entire movie in different ways, (all the while in the service of character-driven plot), including the use of Hans Zimmer’s amazing, pulsating and often-minimalist original score.

Despite being a seemingly cold and sometimes lazy or depressing experience, “breakthrough” is, at its core, a work of great heart. At the end of two and a half hours of intricate pursuits and exhibition overload, no matter how we leave feeling overwhelmed. It should be no surprise, as Nolan has chosen to explore some of the most enduring cinema’s male-centric themes: An identity of people within his own family, and the father / son relationship (played out on Cillian Murphy’s subplot’s character). The film, with its ever-controversial definition and peppered nuances, is almost the very definition of a movie that needs a lot of viewings. Of course, myself, like most film reviewers, there’s just a shot at it so far. I’m still processing 1:00 for this one though as I race to the release deadline. Such as “Importance of the Island” is this a difficult film to review, because of its expert blend of Kubrick-Ian isolation and deep humanity lurking. But I suspect that once we wake up from the first pass in the film, it could very well stand the test of time as one of the great works of dream cinema, and a defining work of Christopher Nolan, who have the shortlist of residential now vital cinema artists.


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