Directed By Christopher Nolan
Starring – Leonardo Dicaprio, Joseph Gordon-Levitt, Ellen Page
The Plot – Dom Cobb (Dicaprio) 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.
Rated PG-13 for sequences of violence and action throughout
– One of a kind direction. Before “Inception”, Christopher Nolan already carved his name out as one of the best directors of the current era, but after the distinct imprint that he left on this picture, he became one of the greatest minds of all time, challenging the audience in ways that films often don’t anymore. This is very much a passion project for Nolan, whose pictures envelope the very best in all areas of the technical spectrum, and are only surpassed by a script that is the epitome of a game of mental chess. This film is the very definition of expedition, treating us to an idea that geographically feels galaxies away, yet in reality is something that we ourselves can reach out and touch, and it’s because of this quality that the science fiction in a film feels possible for once, because it is grounded in such reality.
– Art imitating life. Nolan based the roles of the Inception team similar to roles that are used in craft filmmaking, with Cobb being the director, Arthur being the producer, Ariadne being the production designer, Eames being the actor, Saito being the studio, and Fischer being the audience. What this does is mold a team-based exercise for the movie out of something that Nolan knows best, giving what I interpreted as an immersion into the mind of a literary and visual genius. In addition to this, the initials of each character spell out a bigger message to the audience at home. D(om), R(obert), E(ames), A(rthur), M(al), S(aito), P(eter), A(riadne), Y(usef) = Dreams Pay.
– Best of both worlds. There is this prejudice in Hollywood that big budget Summer blockbusters can’t be intelligent and poignant, but “Inception” was really the film that changed this dimming perspective. Combining a monstrous budget of 160 million dollars with a script so expansive in material that it took ten whole years to write, made for the rare breed of Summer releases that challenge the audience in ways that disaster films and monster movies simply never could, and man did it pay off. Every time I watch this movie, I learn something entirely new about it, and it’s in those clever nuances that have since become known as Easter eggs where the film has tremendous value as a two-and-a-half hour film that you actually yearn to watch again and again. As far as heist films go, it is easily the most challenging and most evocative that I have ever seen.
– Sight and sound. There are no shortage of achievements when discussing this film, but the exceptional perfection that is the rumbling texture of the film’s sound mixing, as well as the practical-dominated work of visual effects serve as the strongest duo, for far greater reason than it taking the Oscar in both respective categories. The movie’s audio thrives as this building ball of momentum, constantly mimicking that of the intensity in dream conflicts that builds to a satisfying blow-off without ever decreasing the urgency in the atmosphere. Everything introduced into the dream is always enveloped by this emphasis that engages you with its presence, and it’s even more incredible when you consider that most of the jaw-dropping visuals we’re seeing are done with limited- to-no computer generation. It’s a technical marvel that sheds light on the tremendous confidence that Nolan had in his crew in depicting this world that looks very similar, but feels eerily foreign to our own laws of gravity.
– Tremendous world building. While I do have a problem with some of the inconsistencies of the rules established that I will get to later, you can’t deny that this idea within these dream worlds were treated as so much more than just table dressing to the film’s essential plot. The film takes valuable screen time in explaining the rules, ideas, and consequences within this state of sleep that give it this rich sense of originality when compared to anything else in film history. Likewise, the set designs and backdrops feel vastly different in channeling the deeper levels of tranquility that the team invades, so as not to feel redundantly confusing to the audience keeping score at home. Also, the fine tuning of superb editing allows for great visual definition when it comes to each ever-changing layer of the dream, and kept things from ever feeling convoluted in a film where it easily could’ve been. This is editing that is visually telling us as many as four different stories at once, and never lost its location for the story along the way.
– Hans Zimmer’s best musical score to date. Zimmer has always been one of my personal favorite composers, but the work done here is exceptionally breathtaking in the way it takes command of these impactful sequences. Hans not only treats us to a fine variety of eclectic compositions, but his dedicated influence through a majority of this picture prove that he is working overtime when actors need a break from the frame. The music very rarely ever leaves the picture completely, and Hans even manages to save the best for last, as “Time”, a somberly building track that plays during the film’s emotional finale, may just be my single favorite piece of music not only by Zimmer, but by any composer in any film ever.
– Collective ensemble. I’ve read a lot of disdain for the performances in the film feeling wooden, but to me this couldn’t be further from the truth, as Dicaprio’s Cobb channels a lot of anger and grief in the valuable things lost that I felt his addiction to the past to induce shivers each time he comes at a crossroads to let them go. In addition to this, the banter and engagement of these top notch actors constantly keep things fresh because of their differences in dynamic, especially that of Levitt and Hardy, who feel like they have a complicated past between them that have left them uneasy towards one another. My favorite scenes really are just the ones when these characters interact with one another, proving that if personalities and presence are strong enough, you can’t get enough of their influence on the picture.
– Absorbing cinematography. The shot composition and color illustration in the film serve so much more purpose here than to outline a beautifully intricate film, it also establishes versatility in complexion that mimics each room it invades. Pay close attention to the background lighting or color pallet in each scene, and you’ll get an undeniable sense of how something so distant plays such an unavoidable presence in the foreground. What made it a done deal for me is that the color correction never feels overwhelmingly artificial, instead endearing subtly in a sponge-like quality to harvest the artistic merit in each scene. For a film made in 2010, it could easily stand tall with the 4K definition of a 2019 film.
– That controversial ending. (Light SPOILERS) Like most artistically poignant films, this one has plenty of room for interpretation, during the film’s pivotal closing moments. Many people have their own take whether Cobb is indeed awake or not when he is reunited with his children. My personal take is that there is a wobble on the spinner right before the screen fades to black, therefore instilling the idea that this is the real world. I say this because in the dream world there never was one instance of this even slightly wobbling even a little bit, therefore he must be in the real world. Either way, I applaud Nolan for giving food for thought to the idea that there is no wrong answer, and that either ending could alter the feeling of the film and its characters conclusively. It proves that endings don’t always need clarity to hit you the hardest emotionally, and if done right they can leave plenty of room for incorporated fan feelings, because after all, that is why movies are made in the first place.
– Inconsistencies with the rules. Some of the glaring problems upon my recent watch involved a few things that crossed my mind as being false, based on the established rules. The first is with the Limbo stage of the dream itself. If Limbo is indeed thought of as the point of no return, why is it so easy for Ariadne, Cobb, and Fischer to escape it by simply killing themselves in the dream? What about Cobb’s incarceration? How was he found guilty when he wasn’t even in the hotel that his wife jumped from? Doesn’t the hotel have cameras showing who went in and out of each room? Wouldn’t they have record of her checking into two different hotel rooms? It seems pretty clear cut to me. Finally are the audience conveniences that make absolutely zero sense in the context of the movie, but are there to forcefully teach the audience about the dream world. Why is Cobb even set up for a water kick when any kind of kick would work in waking him up? Why does it have to be water, and why not a mattress? How come the fall itself into the bathtub doesn’t wake Cobb? I’ll tell you why: So the movie can show water invading a dream. Once again, it only makes sense in the context of speaking to the audience. What about Cobb failing three different times during Saito’s test, and yet he still hires him anyway? What about Cobb’s kids being in America while he lives in other countries? Why not send the kids with Grandpa (Michael Caine) over to where Leo is, so they can be together? I could go into these things for years, but these were the ones that really bothered me.
My Grade: 9/10 or A-