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Year:
2010
Country:
USA, UK
Genre:
Crime, Thriller, Action, Adventure, Mystery, Sci-Fi
IMDB rating:
8.7
Director:
Christopher Nolan
Ellen Page as Ariadne
Tom Hardy as Eames
Ken Watanabe as Saito
Dileep Rao as Yusuf
Cillian Murphy as Robert Fischer
Tom Berenger as Peter Browning
Pete Postlethwaite as Maurice Fischer
Michael Caine as Miles
Lukas Haas as Nash
Tai-Li Lee as Tadashi
Claire Geare as Phillipa (3 years)
Storyline: Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible-inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.
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Reviews
It's absurdity at its best.
Philosophically it was absurd. Here were the main points I gathered from it:

• Faith and doubt are discussed, but the conclusion is that having faith doesn't matter because you can't know what's real anyways. What did the Japanese businessman's non-faith avail him or di Caprio's character's faith avail him? They both ended up having the same destiny, no? So, freewill is an illusion, too.

• Skepticism is the only valid approach to life.

• Existentialism is true; we really do make life to be whatever we want it to be. Top remains spinning at end, or does it eventually topple? Was it dream or reality? Who knows? Does it matter? No, existentialism says we can define our own reality to our liking.

• Relativism of truth: i.e., truth is whatever you make it up to be.

• Subjectivism / idealism / Cartesianism / Kantianism, i.e., ideas are all that are real. If the senses are to be 100% distrusted for determining what is real, we might all be as insane (possessed) as the Dark Knight's Joker.

• Objective reality, for all practical purposes, does not exist. Every subject just makes up his or her own reality. This leads to solipsism and ultimately a suicidal nihilism.

• Murder can be justified as long as the person you are killing is someone's "projection." Di Caprio's character snipes men in the snow scene to the architect girl's surprise; he justifies this by saying they are just another man's "projection."

• Magic potions (i.e., potent drugs) are the solution to anyone's problems.

Christopher Nolan should brush-up on some real, Aristotelean-Thomistic philosophy, but then maybe the movie would not have fooled the audience into thinking it is profound instead of absurd. There were good parts—the importance of fatherhood and family, for example—but they were overshadowed by ambiguity for the sake of ambiguity.

Also, artistically, it could've done without most of the car-chase and shooting scenes and confronted more head-on the philosophical issue it was raising, i.e., "What is real? What is being, existence? Etc," rather than hiding its ignorance in a silly plot scheme involving "kicks," "inception," and other Freudian, postmodern rubbish. If it were 1 hour shorter, it would have still been the same: absurdity at its best.
2010-07-27
Tired of 'mind blowing' endings
Ten years he did about this story, Christopher Nolan. I hardly understand what is so difficult to understand about this would be intellectual piece of rubbish about a dream within a dream within a dream. This is just what Night M Shyamalan has done in all of his movies. Boring us to death with a boring story for about 9/10th of the movie and then to give us an 'amazing ending', the ending here being that in fact it is not a three layered dream but about a dream within a dream within a dream within a dream so 4 layers, at least that's what my impression is as the spinning thing at the end is the talisman of either the wife or Leonard di Caprio.

From the trailer this seemed to be a brilliant movie but I should have been warned by my colleagues from work, one leaving the theater before the ending and all of the others not understanding what the fuss was all about and right they are.

Before this year I never believed that Leonardo di Caprio was able to play adult characters (if any at all) after watching Titanic years ago. Now I'm dead sure of it after watching Shutter island and Inception this year.

Characters without character so you don't give a damn about them; endless ridiculously action scenes certainly towards the end working to an action climax that is incredibly foreseeable (dream layers ending at the same time); heavy pseudo sophisticated acting that gets on your nerves quickly. In one sentence: the biggest scam since The matrix though the Wachowski brothers are even bigger crooks as they scammed the world three times. What idiots us the public are, are we not? I have no problem with 'amazing ending' movies at least if they would make the effort to give you a story leading up to it. Here there is none.

I agree there are really serious bad things to get offended about in the world, but when we feel offended in real life about being conned with situations or a product, we should be too when we are scammed in the movie theater.

The 1 point I give for this movie is for the 'street bending' special effect (the other effects being rather tedious and pure special effects for the effect).
2010-12-05
A Challenge to Those People Who Thought This Movie 'Made Sense'
Alright, so here's the thing; yes, it was cool that there was all that complexity. Yes, it was cool that there were so many layers of thought both on screen and off to what was going on. Yes, it was cool that Chris Nolan managed to make something unique and fairly independent in just one movie that was complex enough to account for a whole trilogy of movies in almost any other genre. But here's the thing; it had some rather alarming logical leaps that I could not get over.

1.The Projections; Okay, so the things that inhabit the streets of the person's subconscious are manifestations of the various components of their brain as evidenced by the fact that when the characters need to find something out about the dreamer's perception of someone else they just follow that manifestation in the dream. Makes sense, because that thought does what the dreamer thinks it would do, not what the real person would do. When I saw that I went 'wow, that makes sense! Clever!', but then towards the end of the movie they say 'nevermind, they're just projections; they don't actually mean anything, and parts of their minds aren't being killed.' That was a little too convenient for my liking.

2.The Totems; WHY doesn't the top fall over in the dream world? WHY does it keep spinning perpetually? Everything else obeys the laws of basic physics, so why wouldn't that? That was probably the dumbest thing I've seen in a movie this year; there wasn't even an attempt made to explain it. I can honestly say this was just as bad as 'only a prime can kill a prime' in Trasformers 2.

3. The Architect/Dreamer Relationship; Why can only the architect choose the world they enter? And why is the only person who 'projects' characters into this world the person that's 'the dreamer'? They are ALL dreaming, every single one of them, so they should ALL be both altering the world they're in and the characters in it. And why can't the projections do anything cooler than be normal guys with guns? If I detected intruders in my mind I'd summon a nuke or Godzilla or Optimus Prime to get them out, not boring henchman who probably wouldn't be able to get the job done anyways.

4. The Script, and it's supposed 'surprises' I felt kind of talked down to when they honestly expected it to be a surprise when you discovered that Molly's death was as a result of Cobb's previous inception. If ANYONE made it through that movie without figuring that out they deserve to be jettisoned into the sun for their stupidity. I caught on the moment he mentioned that inception was possible.

5. Waking Up/Dying in the Dream When you die in the dream world you come back up a level towards consciousness, as evidenced by the fact that they wake up when they get shot in the face in the first scene. But wait! When they die in the dream you actually go down to limbo as evidenced by that happening to the oriental guy, which sucks because that's where it's just 'pure subconscious' and you wake up a vegetable. But wait! You actually aren't in an endless limbo because Cobb and Molly went there once, but you still wake up a vegetable. But wait! You actually don't wake up a vegetable because Cobb and Molly didn't when they killed themselves on the train tracks. But limbo is still bad.......right? Because you can't get out without becoming mentally handicapped, but if you can kill yourself to get out at any time just like a normal dream then why is limbo even bad? And isn't inertia supposed to wake you up? Technically the van falling off the bridge should have woken them up, or even it rolling, not it hitting the water. If the force of hitting the water is what woke them up, then shouldn't anything like a slap to the face do it?

In the end the movie suffered from the EXACT same things The Dark Knight did, and that is Chris Nolan's conflicting desires to make something believable and for sensationalism, and both cancelling out the other. If you wanted to compare it to the other obvious similar franchise,The Matrix actually is believable. Oh, yeah, now that I think of the matrix, how does a tiny needle plugged into their wrist plug them into an alternate reality in Inception? The base of the skull made sense, this is just silly. People keep saying this is the next Matrix, but the difference here is that literally twenty views later everything in the Matrix STILL makes sense, and I punched holes in this latest Leonardo Decrapio movie in one sitting. Pathetic.
2011-01-04
The perfect summer blockbuster?
What do we ask for in a summer blockbuster? What is it that incites hysteria this time every year for whatever dross the studios churn out? Epic hugeness? Blowing stuff up? Romance? Action? Heroes? What are we looking for in a blockbuster? I think it all boils down to thrills! Audiences want the thrill of a car chase, the thrill of romance, the thrill of the spectacular! If that is the case, then Inception just might be the greatest summer blockbuster of all time as it also contains something we often don't look for...brains! "What is the most resilient parasite? An idea" says Leonardo Di Caprio's character Cobb. Well, Inception is all about ideas. It's all right there in the title. The film central idea revolves around "Extractors", who are paid to extract secrets from people's subconscious minds by sneaking into their dreams, usually for the purpose of corporate espionage. However, when one client asks them to plant an idea in the mind of their corporate rival, "Inception" is born. The less said about this film the better. It is full of ideas and invention and for each set piece I divulge, a piece of the film's genius is weakened. This is a film that cleverly and intricately brings the audience through several planes of existence simultaneously but never allows the viewer to feel lost. Such is the power of Christopher Nolan's script which, I imagine, is likely to get overlooked due to the sheer visual magnificence of his direction. But everything that makes this film so great is in the script...in the ideas! Everything else is just spectacle. This film bears an uncanny resemblance, thematically, with DiCaprio's other instant classic this year, Shutter Island. Both films investigate in depth the tricks a traumatised mind can play on the individual. Both films are luscious to watch and both films keep the audience firmly outside the realm of reality. However, Inception is an even more layered film than Shutter Island and I believe the sci-fi genre setting will prove to be less alienating for audiences than the prison noir of Scorsese's film. There is not a single dull moment in Nolan's film. There is style, charm and intelligence in every frame of the film. Every performance is pitch-perfect with some strong support by Ellen Page and Joseph Gordon-Levitt particularly who have grown up right before our eyes into undeniable movie stars. Leonardo DiCaprio gives a typically flawless performance as the muddled, grieving man who we never quite trust to be living in the real world. The best part of Inception is the large amount of effects which were done in camera. While the film does make use of CGI, there are some pretty mind-blowing practical effects which are as simple as the camera telling beautiful lies; a rare treat these days. This is a blockbuster that ticks all the boxes; smart, sexy (femme fatale, sexy brainy girl, very beautiful men in very beautiful suits) and magical. Inception is the kind of film that reminds me why cinema will never die. Because anyone who thinks it's OK to watch this film on a laptop or iPad is a fool! This is pure cinema, and proud of it. Not to be missed on the big screen!
2010-07-12
Boring, too long, illogical, awful dialogue
This film really let me down.

I didn't expect a great film but I expected something that was at least 'OK'.

How wrong I was. I honestly can't understand the hype. 'Intelligent' they say?? What sort of intelligent film has to have it's protagonists explain what is happening continuously throughout the film?? Now Memento, that was a good film. And, I suppose, 'intelligent'. But by intelligent, I mean something that pushes boundaries of the viewer's understanding. I don't mean intelligent as in 1) able to do simple arithmetic, 2) develop reading and writing skills and 3) generally being one notch above a dolphin.

OK, let's make a start shall we? Firstly, one of the greatest literary and cinematic arts is the use of metaphor. This film has none. One thing the film is full of is too much explanatory dialogue (not to mention pre-teen psychology - the father figure relationship in the subconscious). For example, in the first Matrix film, the viewer understands the profundity of what is being delivered through metaphor (a feature that the subsequent Matrix films sadly missed). In this film here, everything is painstakingly explained. To me, this speaks volumes.

Secondly, great actors, yes. BUT ALL miscast and given appalling dialogue in an appalling script. I mean, Ellen Page was great in Juno, but here she comes out with painfully mechanical lines in the same way that Joseph Gordon-Levitt also does. In the same way that every character does. They ALL speak the same way and we are no better understanding one character by the end of the film than we were when they first appeared.

Thirdly, logic. Philosophy. Call it what you want. Why was Ariadne chosen to become the architect? What does she actually DO??

And Ken Watanabe. Why is he alive after dying on the third or fourth level 'down' in the subconscious after the film so adamantly stresses the dangers of dying in the 'dream'? How can he wake up on the plane?? Why, in fact, is there that scene at the start of the film where he appears old and which features the safe and the confidential papers Leonardo De Caprio finds.

Why does Leonardo De Caprio constantly have to furrow his brow? Oh, yes, it's a vain attempt to look mean and manly because the poor man still has, unfortunately for him, such a baby face.

Why is Cillian Murphy's character chosen to be their means of helping LDC's character get back to his kids? And isn't it convenient to have a dream sequence in a blockbuster that resembles a James Bond film snow-covered chase scene? Why does the film have to go on for two and a half hours instead of one and a half? And most importantly, if Leonardo De Caprio's character is so severely screwed up about his wife why, o why does he have to be the main character in this film? Couldn't the team work with someone more well-balanced?? Can he in fact be any use to his kids if he eventually finds them???

Nonsense nonsense nonsense. Big pile of nonsensical psycho-babble. And yes, where else but America???
2010-07-20
Sort of like a pastiche of mediocre action adventure espionage thrillers dating back to the 60s
Before Leonardo DiCaprio agreed to play the lead part in 'Inception', he spent months with Christopher Nolan trying to improve the script. It was at DiCaprio's insistence that the part he was playing, Cobb, the corporate dream extractor, had to have a more beefed up internal arc. Otherwise, Inception would turn out to be another shallow, action adventure thriller. Despite Cobb's triumph over his internal demons (particularly the way in which he expunges his dead wife, who has been haunting him in his subconscious), Inception is much more an exploration of the mechanics of dreaming than a chronicle of emotional catharsis.

At the basic level, Inception can be divided into four distinct parts: Intro, Exposition, Journey and Resolution. The Intro consists of the initial scene, a flashback where Cobb must save his employer, a sleazy Japanese businessman, Saito, now far advanced in years, who has been stuck in a limbo-like purgatory for decades, unaware that he was mortally wounded in someone else's dream. It's a nice, little compact scene where we see a near-dead Cobb, washed up on a beach and dragged into Saito's fortress compound. A gun is left on the table in front of Saito and we're trying to figure out whether Saito is going to kill Cobb or himself.

Cut to the next scene where Cobb and his associate are involved in a trying to extract information from a much younger Saito inside one of his dreams, as they all sleep on a bullet train somewhere in Japan. Apparently, Saito was expecting the dream extractors and informs them that this is their 'audition'; the extractors' 'architect', the guy in charge of designing the dreamworld, somehow lets things get out of control when a mob of men invade the room where they're all staying, and Saito later has his thugs toss the architect off the roof of a heliport. Despite the botched job, Saito is impressed that Cobb and his partner are able to move through different 'levels' in the dreamworld. Cobb's 'audition' could have been compressed into one or two minutes but Nolan insists on illustrating every aspect of his convoluted plot. We finally arrive at the film's inciting incident: Saito's proposal to Cobb that he enter the dream world of his business rival, Fischer, and plant a suggestion in his subconscious, leading to the dissolution of the rival's entire business empire. 'Inception' is the reverse of what Cobb and his team have been trained to do—extracting information and Cobb has doubts about successfully carrying out Saito's proposal. But when Saito promises to pull some strings, enabling Cobb to return to the United States, despite murder charges hanging over his head, Cobb can't resist jumping at the chance to see his two children again.

The next part of 'Inception', the 'exposition', takes about an hour. This is where Cobb assembles his new carefully selected "Mission Impossible" superstar team who will penetrate Fischer's mind and plant the suggestion to break up his dying father's business empire. Nolan's explanation of the mechanics of the dreamworld is so complicated, that he has Cobb explain it to his new architect, a naive graduate student who manages to acquit herself rather well despite facing major obstacles inside multiple dreamworlds. Nolan manages to violate a major tenet of screen writing technique: Show don't tell. Unfortunately, during these expository sequences, there's a lot more 'tell' than 'show'. Yes, there is a rather neat scene (reminiscent of an M. C. Escher illustration), where one Paris landscape folds on top of another but most of the visuals are much more mundane: for example, a speeding locomotive appears out of nowhere during a car chase on a Paris street.

Much has been written about the 'journey' aspect of 'Inception'. Critics seem to be impressed by the three dreamworlds the 'dream team' penetrates, coupled with the way in which they're able to return to reality—the so-called 'kicks', where a huge sound or explosion propels them through the different levels back up to the surface. Nolan, however, serves up some of the dullest and derivative landscapes that our 'heroes' must navigate through—in fact, these so-called dreams don't look like dreams at all. Take Level 1—just a typical shoot em up with faceless bad guys chasing the 'good guys'. As for level 2—I felt I was watching a parody of Space Odyssey, with our dreamers floating through a hotel without the benefit of gravity. Finally, I have heard 'Level 3', compared to 'Ice Station Zebra', the schlocky 60s action film set in the Arctic.

Inception's Resolution is as unsatisfying as the earlier parts of the film. What are we to make of Cobb? Just because he has made this deal with Saito and it enables him to see his children, does not mitigate the fact that the whole plan to literally change Fischer's mind, is reprehensible. After all, shouldn't have Cobb walked away when Saito had his men murder the first architect? Cobb, by and large, remains a tainted and unsympathetic character, precisely because he looks the other way when he's quite aware that Saito has committed murder.

We're also told (by Saito) that the breakup of Fischer's empire is a good thing but should we take his word for it? He's a thug and Nolan has provided us nothing to go on to evaluate the nature of the Fischer empire. Finally, why does Fischer cry at his father's deathbed? He's just learned that his father put his mother in a mental institution so shouldn't he be angry? Or are those tears of joy so that he can be now 'his own man'?

The bulk of 'Inception' is merely a pastiche of mediocre action adventure espionage thrillers dating back to the 60s when the genre was in full bloom. The long-winded 'B' story, Cobb's tortured machinations in trying to literally kick his dead wife out of his subconscious mind, merely serves to distract us from the hollowness of the overall plot.
2011-03-07
"9 out of 10"...Are you actually serious right now?
Just to start off, I read about 20 pages of reviews of this movie and had a few things of my own to add. I actually had to register to IMDb so I can explain why this movie is so bad. Seeing that this piece of garbage is rated 9 out of 10 made me wanna vomit. But enough about that, let's get to the serious issues with this movie.

1: Leonardo DiCaprio has not changed his role for the last 5 years. Am I the only one that notices this? He always plays some guy that has deep seated emotional issues relating to the loss of a loved one. Can he play anything else besides the loner that lost the love of his life and now has psychological scars that go so deep they hit the street he's standing on?

2: Why didn't they shoot his stupid wife anytime she showed up? He wasn't the only guy on the team that knew she was out to mess things up. Why not say, "Hey guys, if you see my wife shoot her because she's going to get us all killed. She's not real and is already dead, so go ahead and blow her away so we can get back to work."?

3: The dream world was the dullest I have ever seen. "Oh man...M.C. Escher stairs, a train driving down the street, buildings that go sideways and upside down..." That's all they could come up with? "Willy Wonka and the Chocolate Factory" was more imaginative than the supposed "dream-world". I'm pretty sure most dreams have more random stuff than that happen in them. Where's the off-the-wall imagination? I don't think anyone that says they had "the weirdest dream" explains it as, "Well the world was the same, but a train showed up." "And?" "That's it. Everything else was completely normal." Weak.

4: If I wanted to watch "Call of Duty," I'd play the game. All of the shoot-out scenes looked like they were taken from "Game Informer" magazine screen shots.

5: How come when they went to Limbo, it was in DiCaprio's mind? Can anyone explain that? Is there just one Limbo that in all this movie world's history of dream exploration, but only he and his stupid wife got to and did stuff in? Or was his team (two of whom knew how messed up in the head he was) too dumb to say, "Why don't we keep you out of this and go into someone else's head just in case this turns out badly?".

6: As far as 9 out of 10, (really folks?) go watch "Citizen Kane," "Lawrence of Arabia," or even "The Dark Crystal" if you want a good movie that can stand-up to even the most mediocre critical observation.
2010-12-13
What a convoluted mess!
I'm not even going to waste my time writing a review, it would get lost in the "dream world" of positive reviews. Those who are making this out to be something profound or mind-boggling are also delusional.

All it is is a muddy film with tons of plot holes and slightly better-than-average special effects. I am completely amazed at the comments about this being something more than it is. "The Matrix" was far, far better, made far more sense and offered far more insight into human nature, love, etc.

Nolan has made a "cluster f__k" that must have subliminally messaging going on in some theaters cuz nobody in our theater enjoyed it very much. The acting is superb. There's one really cool scene of Paris defying gravity. Other than that there is nothing new and there is little or no logical plot line. It is just as my title says, convoluted. I'm a writer and this is the kind of stuff I delete from my novels when I begin to stray or run on.

There's one review here that understands what is going on with the people who have fallen for this nightmare... he says "There are movies for stupid people. There are movies for smart people. Then there are movies for people who like to think they're smart." He has hit the proverbial nail on the head. This is a movie a few, likely stoned college fanboys go to see, start a conversation about "what if..." and create something out of nothing. Any intelligent person begins to have serious trouble coming up with answers that truly fit the massive questions in Nolan's script. To pass it off as "well, it's all a dream" is just a cop out. The movie doesn't really work. The dream-within-a-dream-within-a-dream is just a way for him to cover his mistakes.

This movie deserves a high 7 at best. In time, it will drop considerably on this site... perhaps to near #100. But that will only be due to Nolan fans. True movie buffs will never fall for this fantasy. It's ordinary storytelling and a "make-it-up-as-you-go-along" script.

Go back to schools everyone. Stop doing drugs. This is not a fine wine... it is carbonated fruit punch. And your drooling all over your shirt!
2010-07-31
All The Classic Marks Of A Bad Movie…
Inception indeed has all the marks of a bad film. This is not just apparent in the film itself, but comments fan make.

"If you don't like this movie, it's because you don't get it!" "If you don't like this movie, you lack class!"

These sorts of things are the same things I hear when one of my hipster friends gives me a CD of some band nobody's heard of, and when I press Play, I immediately figure out why. When you like a movie that is identifiably bad, you have to come up with excuses for liking it that aren't tomfoolery, like "you just don't get it, MAN. It's too ironic for your puritanical tastes!"

In the end, I find that the film itself, fans aside, is not terribly thrilling. The ideas aren't original—it was like a Matrix in the dream world. Except a bad one, because nothing gets explained, really. Watching Inception was like watching the story of Call of Duty Modern Warfare 2 play out. The question I kept asking myself was "okay, why is so-and-so doing THAT?" At the end of the movie, I decided that Christopher Nolan, like George Lucas, is talented, but has gotten too full of himself. Why do I care about Cobb's kids, to whom we are granted no real introduction? Why do I care about dueling energy companies? Why do I care about a bunch of corporate hit men and mob bosses? There's no connection.

An emotional connection is something lacking, but more frustratingly is the disappearance of character development about 15 minutes in. Everything gets lost at about that point actually. The logic of the plot, the coherence of the plot, everything. It's baffling to me. I loved The Dark Knight and The Prestige—they hit that sweet spot in between baffling and straightforward. Inception missed the mark horribly.

——SPOILERS DO NOT CROSS——

By far, the ending is the most ridiculous. It's a contradictory ending. Although we see the top is clearly falling, and Cobb is not wearing his ring, the children look the same as they did.

——SPOILERS DO NOT CROSS——
2010-11-15
Good but over long and not that clever
Its all flash and little substance in Christopher Nolan's over long story of people able to go into the dreams of others.

I'm not going to go into the plot, partly to play fair with those of you who haven't see the film, but Nolan has constructed a film so needlessly messy that its damn near impossible to summarize simply.

Yes the visuals are spectacular, though most of them are obviously CGI creations. There are also fewer than you would think since the dream weavers of the story have to keep thing real in order to achieve their ends.

For me the story isn't much of anything,certainly not enough to support a two and a half hour tale. The deepness of Nolan's "philosophy" is also over done, and ultimately meaningless since Nolan is on record as saying it's all been made up and exists purely to drive his plot.

I like the story I just wish it didn't take so long to get where it was going.

I also hate that Nolan changes the rules about half way in as a means of making things more exciting. Its not fair and I was so annoyed I walked out of the theater the first time I saw the film.

Good not great, its worth a look see down the road.
2010-09-18
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