Inception: Movie Review

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Leonardo Di Caprio Inception Movie Poster

Inception’s powered by a high-concept premise that’s simple and brilliant. Dom Cobb – an impressively seasoned, bruised turn by DiCaprio – is a dream thief, a man trained to trespass in sleeping minds and extract deep-buried secrets. Now he’s hired to implant an idea rather than winkle it out. Ideas, we are told, are.. Read More

While this may not be Christopher Nolan’s most immediately accessible movie–it actually requires you to pay attention and use your brain… yes, in the summer–it’s certainly his most personal and most daring film, the type of summer movie that leaves you thinking well after it’s over, immediately wanting to see it again in case you missed anything the first time. Being that “Inception” contains some of Nolan’s most innovative ideas since “Memento,” it’s also his most successful movie in terms of being able to fully realize every nuance of such a rich concept. Read More

The reality that jostles the reverie is that, as brainiacally engaging as the movie is, Inception’s emotions beat with a much fainter pulse. Nolan outfits Dom with an old-fashioned love of wife and children, and waking-life emotions of grief and guilt. But between DiCaprio’s characteristic (and, don’t get me wrong, often interesting) affect of broody complication, and the generic nature of Dom’s longings, the heart is far less engaged than the head for most of the show. I like the movie’s ambition so much that I wish that imbalance didn’t matter — that the daredevil rush to the (infernally open-ended) conclusion was its own satisfying reward. I’m left to hope, and wonder whether repeated viewing will shift my perspective. You know, as in a dream. Read More

Inception is full of brontosaurean effects, like the city that folds over on top of itself, but the tone is so solemn I felt out of line even cracking a smile. It lacks the nimbleness of Spielberg’s Minority Report or the Jungian-carnival bravado of Joseph Ruben’s Dreamscape  or the eerily clean lines and stylized black-suited baddies of The Matrix—or, for that matter, the off-kilter intensity of Nolan’s own Insomnia. The attackers in Inception are anonymous, the tone flat and impersonal. Nolan is too literal-minded, too caught up in ticktock logistics, to make a great, untethered dream movie.  Read More

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