In reviewing 2008’s “The Dark Knight,” I wrote that director Christopher Nolan “has made a brief career of exploring characters built upon their somber, in some instances twisted pasts, however distant or immediate.” The theme continues with “Inception,” a film like nothing you have ever seen before that plays out like a two-hour therapy session, wrapped in the accoutrement of a heist film and bathed in the panache of an entirely immersive cinematic experience.
The hero is Dom Cobb (Leonardo DiCaprio), a man trying to find his way home, to paraphrase the filmmaker. But is home just a dream, some fantasy trapped in the “what if” corridors of his mind? Or is it possible that maybe through one final job of contrived gobbledygook he might find his way to the life he was forced to flee years before?
Cobb’s black market profession is “extraction,” a type of mind theft dependent on dream manifestation technology developed by military intelligence for training purposes. If you want someone’s secrets, Cobb’s your man. For a price, he and his crew will go into the individual’s subconscious and bring it to you on a silver platter. But it’s a dangerous job, given the complexities of the process, not to mention the complexities of dealing with the kind of people who’d pay for such a thing.
Nolan’s screenplay carefully drops the viewer into the action as Cobb meets with Saito (Ken Watanabe), a businessman interested in the reverse of extraction: “inception.” Saito’s proposal is to breach a rival CEO’s (Cillian Murphy) mind and plant an idea that appears to be in his own best interests, but is glossed over as perhaps a necessity for the greater good. But inception is impossible, or so Cobb’s associate, Arthur (Joseph Gordon-Levitt), maintains. Inspiration cannot be faked, and what an excitingly unique early theme that promises to be. (The film abandons it in favor of other explorations.)
But Cobb knows better. And the dangling of a carrot — the promise of making his unfortunate past disappear and ensuring him a safe return Stateside — is all it takes to get him on board.
From there the film takes off. Cobb assembles his team, including Ariadne (Ellen Page), the architect of the dreamworld they will manifest; Eames (Tom Hardy), a forger of personas who can lead the subject this way or that; Yusuf (Dileep Rao), a sedative specialist; and, of course, right-hand man Arthur. But danger lurks as Cobb’s increasingly unstable psychosis from past trauma threatens to undermine the mission, and maybe even his own grasp on reality.
Every single moment of “Inception” is more gripping than the last. It’s the kind of film Freud, or more likely Jung, would have delighted in deconstructing. Nolan takes a leap of faith with his audience, trusting them to keep up with the screenplay’s labyrinthine structure while at the same time conjuring enough cerebral hocus pocus to avert attention from its weaknesses.
More importantly, the film is about something, very much concerned with nuances in character and behavior that elevate material like this to another level. Nolan springs for Cobb as a complicated, at times ambiguous individual, rather than a do-no-wrong protagonist the audience can blindly trust and comfortably follow. Care like this makes a journey worth taking as Nolan weaves something close to a participatory narrative for the audience to experience rather than observe, all leading to a brave final image that will surely leave audiences discussing an array of implications. But while the director deserves plenty of credit for his dense vision, the department heads he’s recruited will hopefully not become unsung heroes of the piece.
Lee Smith’s film editing, for instance, navigates a series of dreamscapes with a slick skill-level deserving of an Oscar. (Seriously, cased closed as far as this viewer is concerned.) Chris Corbould’s digital and practical effects wizardry, in tandem with Guy Dyas’s awe-inspiring production design, paint a cinematic portrait unlike any other. Hans Zimmer’s subwoofer-thumping score oozes ominous intensity while mingling with delicate themes. And, of course, Wally Pfister’s camera captures the unfolding elements with a grace that has come to be a trademark of one of the most talented working lensers in the business.
But like “The Dark Knight,” this re-defining genre effort succeeds in spite of a few problems. Nolan’s superhero sequel was packed with complex ideas on a broad, bloated canvas. This time he’s concerned with ideas no less complex, but they are bridled by plot holes and the simplicity of contrivance on more than a few occasions. And the third act, while a master class in sequence construction, is nevertheless an assault on the senses that can be numbing.
In short, the director may still be closing in on the sweet spot in his newly traveled blockbuster career path. But “Inception” is a movie so vibrant, so alive, so relentlessly original that it can be forgiven its transgressions in an instant. It’s an entertainment with vivid, profound ideas, precisely the kind of daring that ought to be backed by big money. And Nolan has more than earned that sort of risk from Warner Bros. and finance partner Legendary Pictures.
Moreover, this could be the film to solidify the director’s place among the modern masters. “The Dark Knight” made its mark on pop culture, yes, but “Inception” doesn’t carry the (however unfair) stigma of being based on pulp fiction. It could leave a footprint far more important on the industry: the fulfilled promise, perhaps thanks to a thinly rewarding summer movie season, that expensive, thoughtful, original filmmaking can pay dividends.
With that in mind, when the film hits theaters July 16, you could do a lot worse than showing up with your wallet and telling Hollywood, “More of this, please.”
(You asked for it, so I gave it to you. Therefore, mark “Inception” as the last film I reviewed in a formal capacity in this space. It was worth it to give it one more go on something this inspiring. Everything will be informal commentary from this point forward.)
Comments
77 responses to “REVIEW: “Inception” (***1/2)”
How did others at your screening react? Just as enthused?
Thanks for waiting to put this up. What an awesome send-off for reviews.
Reviews are everywhere now, Al. Just seek them out.
Ah! Wonderful review. Long time reader, first time poster. Thanks so much for this. Curious, do you think any acting nod’s will come out of this or deserve to?
Positive word of mouth everywhere, it seems. I can’t wait for the Armond White review.
Kris, I skimmed most of your review (very nice ink), simply because I want to go in as blind (to plot) as possible.
What exactly is your reasoning for 3.5 as opposed to 4?
I am so glad you had a great experience with such a highly anticipated film, such as this one.
And, with a good campaign, do you forsee Oscar noms for any of the actors? If so, whom?
I’ll write something up on Oscar prospects later.
This was entirely worth the wait. I’m so glad this won’t be an Airbender-like fiasco. How could I doubt Nolan?
So, what do you think, Kris? Will it be remembered as summer fluff, or do we really have a bona fide contender?
JJ: The reasoning is in the review. Not sure how to better say it. The film does a masterful job of getting you to look away when it’s at its weakest, but there are nevertheless holes and contrivances that stick out to me. It’s not fully complete as a result.
And like I said, I’ll write about Oscar potential later.
OK, cool. Thanks, Kris. I did read that part, my bad.
Hey Kris if you will, can you rank all of Nolan’s films?
I’ll have to think about it, Matt.
A final film review to be proud of. Thank you.
How is Marion Cotillard? I’m just curious; Awards Daily seems really impressed with her performance and you don’t mention her.
Wow. Thanks Kris.
Also, regarding box office:
Some peeps say that the mind-twistiness of it will turn-off viewers (making it possibly be sucessful, but not wildly successful).
Can you elaborate on that? Is it too mind-twisty for average viewers? How successful do you think it will be, etc..
She’s fine. Didn’t mention her in order to steer clear of that aspect of the plot, which is dense and key, but she’s good. I must say I wasn’t particularly impressed to the point that I wanted to trumpet her achievement, though, if I’m honest.
JJ: I think it’s a demanding movie that will lose a LOT of people.
RE: Cotillard, one more note. At the same time, I’ve come to expect a certain serenity and ease from Cotillard’s work. Which is, frankly, one of the highest compliments I can afford.
Thanks Kris. My prediction: You’ll do a full-on, formal review of Batman 3 in 2012. : )
This was well-written. You’re selling yourself short.
cool, skipped all about the plot, and invictus didnt deserve to be the last reviewed, look forward to it
[…] InContention (3.5/4) : “Inception is a movie so vibrant, so alive, so relentlessly original…” […]
your opinion is one of the few that I take most seriously and I am very happy to hear that you were mostly really impressed by this film. I understand why you don’t want to write traditional reviews but clearly when it is about a subject that inspires you it sure does bring out the best. Great writeup! I am going to hate the wait for this film but it will be worth it!
I was reading your review and didn’t notice anything about Marion Cotillard’s performance?
Jason: Look at the earlier comments. He doesn’t mention her because her thread is “dense and key.”
Kris: Very nice final review! I can’t wait to check the film out. Pretty sure I’m seeing it next Sunday.
[…] InContention: “In reviewing 2008’s “The Dark Knight,” I wrote that director Christopher Nolan “has made a brief career of exploring characters built upon their somber, in some instances twisted pasts, however distant or immediate.” The theme continues with “Inception,” a film like nothing you have ever seen before that plays out like a two-hour therapy session, wrapped in the accoutrement of a heist film and bathed in the panache of an entirely immersive cinematic experience.” … “Every single moment of “Inception” is more gripping than the last. It’s the kind of film Freud, or more likely Jung, would have delighted in deconstructing. Nolan takes a leap of faith with his audience, trusting them to keep up with the screenplay’s labyrinthine structure while at the same time conjuring enough cerebral hocus pocus to avert attention from its weaknesses.” […]
Oh I’m sorry, I didn’t bother to read the comments on the page.
I agree with Mark, you are selling yourself short. I like your reviews… a lot.
I’m already making work arrangements so I can see this in the morning next Friday so that I can see it again that evening, should I feel the need.
I almost had my hand on a screening pass for Monday but just missed it.
Kris, I have a question about one below the line category you didn’t comment on. Sandy Powell’s speech this year inspired mixed views among bloggers, but the heart of it was contemporary design doesn’t get enough <3 from AMPAS. From the trailers and photos, the wardrobes looked pretty kick ass. Was the costume design really good too, even if AMPAS doesn't take Powell's advice?
[…] InContention: “In reviewing 2008’s “The Dark Knight,” I wrote that director Christopher Nolan “has made a brief career of exploring characters built upon their somber, in some instances twisted pasts, however distant or immediate.” The theme continues with “Inception,” a film like nothing you have ever seen before that plays out like a two-hour therapy session, wrapped in the accoutrement of a heist film and bathed in the panache of an entirely immersive cinematic experience.” … “Every single moment of “Inception” is more gripping than the last. It’s the kind of film Freud, or more likely Jung, would have delighted in deconstructing. Nolan takes a leap of faith with his audience, trusting them to keep up with the screenplay’s labyrinthine structure while at the same time conjuring enough cerebral hocus pocus to avert attention from its weaknesses.” […]
Just noted the costume design in the above piece. It’s perfect for the film. But I don’t see that unfortunate wall crashing any time soon.
Great review. Can’t wait to see it. I must confess I’m not as thrilled with all of Nolan’s work as many people are. I found The Dark Knight good, but heavily flawed, and Memento never really hooked me. The Prestige is my favorite of his films, though I’d certainly acknowledge flaws there as well. Still, I’m sure I’ll be there sometime on the first weekend, if not at midnight on the first day.
[…] In Contention (3.5/4): Moreover, this could be the film to solidify the director’s place among the modern masters. “The Dark Knight” made its mark on pop culture, yes, but “Inception” doesn’t carry the (however unfair) stigma of being based on pulp fiction. It could leave a footprint far more important on the industry: the fulfilled promise, perhaps thanks to a thinly rewarding summer movie season, that expensive, thoughtful, original filmmaking can pay dividends. […]
how about the acting???
please don´t forget to include acting comments.
I hate reviews that don´t talk about the players.
or is it that the rest is that much overwhelming?
Thanks for keeping your review spoiler-free. Here’s hoping that a few more films in the future inspire you to write reviews.
Just have a few questions. Feel free to answer which ever ones you want.
– Is the dialogue scene with DiCaprio and Caine a highlight?
– If you had to label one of the supporting performances a “standout,” which one would it be? Or do they all work on the same level?
– Is the bathtub sequence as awesome as the ads make it look?
All of the performances were amazing and all deserve the praise they are going to get, but TOM HARDY nailed it, killed it, hit it out of the park, he was my favorite hands down!
CANT WAIT TO SEE THIS AGAIN!
Danny:
Caine is in it and gone. Nothing to write home about.
Standout supporting perf: Joseph Gordon-Levitt. I don’t usually like him but he’s smooth and cool and refined here. Tom Hardy is great, too.
Bathtub sequence is early and it’s stylized because of a foreshadowing thing.
im calling that Armond White doesn’t like it. Calls it “boring” “pretentious” and “To difficult to understand”
Great review, Kris. Loved seeing that you decided to do another review. Can’t wait to see this.
Brian: My guess is that White will also throw in a random reference to how much more refined a cinematic experience “Jonah Hex” is. :P
[…] InContention: “In reviewing 2008’s “The Dark Knight,” I wrote that director Christopher Nolan “has made a brief career of exploring characters built upon their somber, in some instances twisted pasts, however distant or immediate.” The theme continues with “Inception,” a film like nothing you have ever seen before that plays out like a two-hour therapy session, wrapped in the accoutrement of a heist film and bathed in the panache of an entirely immersive cinematic experience.” … “Every single moment of “Inception” is more gripping than the last. It’s the kind of film Freud, or more likely Jung, would have delighted in deconstructing. Nolan takes a leap of faith with his audience, trusting them to keep up with the screenplay’s labyrinthine structure while at the same time conjuring enough cerebral hocus pocus to avert attention from its weaknesses.” […]
Great review, Kris. Quick question: did you see it in IMAX? I know (or think) that the movie wasn’t shot in IMAX, but is being shown in IMAX format; I’m not sure if this is a case where I should see it on the biggest screen possible, or if it’s unnecessary.
Awesome. I suspected Caine’s role would be minuscule, but some of the dialogue that’s been released in TV spots with him has intrigued me.
Adding on to what Josh said, I’d like to just ask one thing: Since this movie wasn’t shot in the IMAX format, but instead Nolan shot ‘key sequences’ in 65mm, does this mean that those parts of the film won’t take up the entire IMAX screen, like The Dark Knight did?
Didn’t see it in IMAX, but I most definitely will.
He,he, this was rumoured to be a “hate” review, so, yeah, keep them coming. 3.5 out of 4 “hate” is really good omen. Great review. Go Inception!
I’m glad you made this exception Kris. I enjoyed the review and am really curious to see the movie.
@Chris138 Imax film is 70mm, Nolan shooting in 65 is the next best thing, so it should take up the whole screen
Thanks, Andrew. Sounds awesome.
Kris: What about Leo Di Caprio performance ? Is oscar material, or just ok ?