is inception about to kick ass?

scotland1 said:
This film is brilliant. To the people wondering about the ending,
it's up to you whether the top falls or not. You come to your own conclusion.
That's the sign of a good film, one that makes you think.
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I'm sure I heard it drop after the credits were done
 
Perhaps I shouldn't have read some of this thread before I saw the film. I can't say for sure but it missed the mark for me and I agree with a lot of things that Sulk said. Following the story from the first few scenes was fairly tricky and I ended up feeling pretty disconnected from the film just by committing so much to keeping up. So much so, I'm not particularly bothered if the top stopped spinning, or not.

edit: This review by a John Anderson puts it well for me.
By convoluting the various planes of experience, by overlapping and obscuring ostensible realities and ostensible dreams, Mr. Nolan deprives us the opportunity of investing emotionally in any of it.
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There were some enjoyable action scenes & a decent enough cast that I would still recommend it as a film to see from 2010.
 
Hectic Glenn said:
edit: This review by a John Anderson puts it well for me.
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By convoluting the various planes of experience, by overlapping and obscuring ostensible realities and ostensible dreams, Mr. Nolan deprives us the opportunity of investing emotionally in any of it.
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I can understand how this opinion would manifest itself although I think the obfuscation of certain aspects of the film were necessary in order to develop the concept into something so provocative. I don't think Nolan had much of a choice to concentrate less on characterization, although Ariadne's character seemed to just appear our of thin air, similar to Eames. I'd like to know a little back story (especially with Eames' ability to forge a new identity) on both but I don't think it would add anything of significant value.

We're also vaguely introduced to the dream machine yet almost zero information is given to us concerning how it actually works but this is still something that doesn't need to be explained. Future dream thingy is more than enough information considering the depth of the movie. I think all we really need to know is the film takes place in the future where the military has developed this technology to aid in combat training.

That having been said, I ****ing loved the concept. I'd venture to say this was better than the dark knight although I'm sure I'm in the minority. I suppose it doesn't help that I'm a big Cillian Murphy fan.

Oh, anyone else notice how Ellen Page walks like a linebacker? It's so weird.
 
I found it really easy to follow, but that's just me. I don't get too caught up in plot holes and such.

Personally I believe Cobb was awake at the end.
 
Lone Wolf said:
I found it really easy to follow, but that's just me. I don't get too caught up in plot holes and such.

Personally I believe Cobb was awake at the end.
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The wedding ring theory agrees, but I don't agree with it. Too many plot holes in the end if he was awake.
 
I cannot understand people asking for an explanation of the the dream machine. What? Do you just want the characters to spout some technobabel? It seems like asking for a detailed explanation of how the ring from Lord of the Rings operates. It's a magic plot device, that's about it.
 
Sulkdodds said:
Man, I've rarely watched a movie that was so carried by ideas. I mean, none of the performances in that film were spectacular. The dialogue was clumpy and rubbish. The characters weren't very fleshed out (indeed, we get a brilliant cast trying their best to make good on slim pickings). Even the action wasn't that interesting - the film has the same faculty as The Matrix for an iconic image, but not nearly as much of an eye for iconic situations*. The underground dream den, the falling van and the spinning corridor were all cool, but if the whole movie recalled a videogame the snow fortress was like a middling level from a fairly boring one, and nothing quite felt sustained or cohesive enough.

Only a competent execution, but such lovely ideas.

*You know what I really mean? I'm talking about space. Nolan isn't a very good spacial director; his camerawork is as choppy and disconnected as his plots are intricate.
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Yeah I pretty much agree with all of this. The whole film feels like a wasted opportunity, but still an enjoyable one. It's no Matrix, but then again, it's not really fair to compare every action film that comes out to The Matrix. The thing that really makes Inception iffy to me is the insane amount of clunky exposition. It's awful. Seriously, Primer is a great example of how to do exposition better while keeping the audience more involved in whats going on and even that film has major problems with it, particularly at the end.
 
I can understand the complaints for people who wanted more explanation behind some of the concepts like the dream machine but strangely i don't think it seemed all that necessary; i don't think it would have added all that much to the movie really. And some of the other things can be explained by it being a dream (like the force in star wars) :p

That having been said, I ****ing loved the concept. I'd venture to say this was better than the dark knight although I'm sure I'm in the minority. I suppose it doesn't help that I'm a big Cillian Murphy fan.
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I agree with you and i know quite a few people who think the same actually.
 
MuToiD_MaN said:
the Japanese guy's accent is hard as hell to understand when you're trying to make sure you don't get lost at the plot exposition part of the movie. Seriously, my wife and I were both like "okay, everyone says this is a thinky movie, I have to concentrate ... wait what the HELL all did that guy just say?!"
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Heh that didn't even occur to me, partly because the showing I went to see had closed captions.
 
I enjoyed the movie very much. It delved into subjects and concepts that I have thought about for many years, and was very imaginative. Some things could have been better, but I liked the movie very much nonetheless.
 
The dream-within-a-dream time dilation concept is the only part that bothered me. Okay, if you're dreaming you can experience a much longer passage of time than reality, I've even experienced that. The whole "your brain is much more active in sleep versus being awake" is a fine premise to explain that. But what it can't explain is how time gets further dilated if you were to dream within *that* dream. If you're already sleeping your brain can't run time any faster; it strikes me as being rather like running a virtual machine from within a virtual machine. They'd be more or less the same experience; in fact probably worse as your brain would be maintaining two simultaneous dreams.

Then I was reminded I was already suspending belief regarding the whole "dream machine" concept and was told to stfu and enjoy the movie.

The end.
 
I think the reason that dream times goes by slower is because your brain is processing a lot less information. Basically you are dealing with abstractions and ideas rather than having to take in all of the textures and sounds of reality. Dreams are much more emotion based.
 
Yes Dan, but that doesn't explain Mutoid's question: why does time slow by even more with each deeper dream-within-a-dream?
 
sorry, I was trying to agree with him. It's another "rule" of Inception that you just have to accept.
 
As time goes on I feel less and less favorable towards this movie. I should probably give it a second viewing.
 
Did anyone stay for the credits? I didn't, and a friend just told me today that if you stayed for the credits you don't actually see a scene, but your hear something. Supposedly you hear it tumble and fall at the end. But I can't confirm this.
 
Can someone explain to me exactly who designed the third level (with the snow), Eames or Ariadne? Ariadne supposedly was the architect to the whole dream, yet she speaks about Eames creating something on that level.
 
I think she says Eames added to it. As in, she made a big complicated maze and Eames decided to add the air duct as a cheat (remember she wasn't originally supposed to go into the dreams, so she's not the one creating the levels in the dreams, she designed them and then taught them to the rest of the team, except Cobb).
 
I'm reading the comic now. I like how Scrooge keeps asking Donald "What the **** are you doing here?!"
 
Kakashi said:
Did anyone stay for the credits? I didn't, and a friend just told me today that if you stayed for the credits you don't actually see a scene, but your hear something. Supposedly you hear it tumble and fall at the end. But I can't confirm this.
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I stayed till the end of the credits and I didn't hear anything. Maybe it wasn't there, maybe it was so subtle I missed it.
 
Kakashi said:
Did anyone stay for the credits? I didn't, and a friend just told me today that if you stayed for the credits you don't actually see a scene, but your hear something. Supposedly you hear it tumble and fall at the end. But I can't confirm this.
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Don't know how credible this is but MovieStinger says no.

I was already in awe of the soundtrack from the movie so this is just icing on top. http://www.youtube.com/watch?v=UVkQ0C4qDvM

92dcae2b.jpg
 
I bet if any other director made the same movie with the exact same story, it would have sucked balls. The movie isn't in the plot, it's in the details. Before you can make an intellectually stimulating movie, it first has to be aesthetically pleasing and emotionally gripping.
 
Here are some questions I have that I have not found the answers to, or anything close to an answer.

1. With the sedative Yusef provides the team for the job they are unable to wake until it's effects have worn off. Being killed while under this sedation brings you to limbo...etc. We know all this. But, let's assume that the mission went perfectly and they all arrived back at level 1 (the van). It was said that at this level, and with the sedation they were under, it would take a week until they could wake up. Do we assume they waited all that time until leaving level 1? I find that hard to believe since Cobb told Eames a week of surviving from the projections would be near impossible. Or, perhaps they worked out another kick which would bring them back. This would be the most likely but it's not shown in the film.

2. The defibrillator makes no sense at all. This is supposedly used as a kick but that is basically all the information we get. When Fischer is shot, Cobb says "His mind is already lost down there" and tells Eames not to revive him. If he's alive, why is he in limbo? If he's dead, how could shocking him be of any value? The moment he is zapped Ariadne finds him in the same room Cobb and Mal are talking in limbo. I have no idea what caused this sudden appearance. Is it possible to die in level 3, enter limbo, die, and enter 3 again? I'd love someone else's take on this.

Further, let's say you die in level 2 under this sedation. You go to limbo. But if you somehow realize what's happened and kill yourself there, you would have to go back to level 2 alive, right?

3. As Cobb stays behind, he is seen talking to Mal. Once everyone exits the van (which is under water), Cobb is still inside. I'm thinking the knife wound Mal gave to Cobb actually killed him, sent him back to level 1 (where he dies) and is then sent back to limbo. During his talk with old Saito, it's apparent that Saito has aged very much which tells us he has nearly lost his mind. Cobb, although disheveled, looks young and reminds Saito his world is not real. Has Cobb been in limbo all this time looking for Saito or does the death-by-knife theory make more sense?
 
Dan said:
I bet if any other director made the same movie with the exact same story, it would have sucked balls.
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No. I can think of a ton of directors who would have done better jobs.

That's not to say he's a bad director, by any means. I just don't think Nolan is the second coming of christ that everyone has made him out to be with Inception. Your average David Lynch film is far cleverer and better executed than Inception is.
 
Well, I'm not sure every director interprets dreams as James Bond movies.
 
Ooo I have a question.

I was talking to someone about this the other day and we both felt the same about the ending.

How many of you felt like you'd be on the emotional journey the film presumes you've been on by the end of it?
 
I did, just about. I think it was anchored mostly by DeCaprio's pretty-damn-alright performance and of course I'm a sucker for the kind of music-and-camera emotional manipulation which is any modern film's mainstay. I really was

relieved to seem them all walk out of that airport. Quite effectively had the feeling of waking from a common or garden dream on a long flight, too. Everything slightly woozy, slipping by a bit too fast - oh, are we there already?
 
Me, for one.
The music at the end just says "they got the job done" and it's all very victorious, I love it.
 
Just saw Memento.
After seeing The Following, Memento, and Inception, I have some mixed feelings about Chris Nolan as a Director.
 
ZT said:
Just saw Memento.
After seeing The Following, Memento, and Inception, I have some mixed feelings about Chris Nolan as a Director.
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as in you aren't sure if you'd want a reach around while have butt secks?

So what exactly are your mixed feelings though?

edit: Lone Wolf, get your own avatar you theif!
 
Watch the Following, Memento, and Inception; in that order.

-It is Nolan's Attempt to do the same film three times. The more you dwell on these films, the more you analyze the plot; the more you see contrived parts of the plot that you either have to ignore or forgive in order to make the story coherent and whole.

The Following is very good for his first film, but you see all the inconsistencies. Memento is by far his best film but it suffers from some of the same problems as The Following. As for Inception, it is probably the most coherent, great concepts, but a poor, muddy execution.

These three films suffer greatly from being overly ambiguous, contrived, and inconsistent.

In my personal opinion, one of the most glaring moments of covering a plot hole with vague ambiguity was at the end of Memento when Ted tells Leonard that his wife was Diabetic and that he was indeed Sammy Jankis, and that Leonard had only remembered what he wanted to remember so he didn't remember that his wife was diabetic and that the story of Sammy Jankis was created in his mind as a cover for what really happened.
-I mean what the F*CK? What a goddamn crock of shit. That moment nearly ruined the entire film for me, may as well have been that Leonard had a split personality named Tyler Durden who murdered his wife.
 
Nobody cares. Christopher Nolan is HOT AS ALL HELL and that's ALL that MATTERS. You're just not getting any from him.

**** you, pal.
 
ZT said:
As time goes on I feel less and less favorable towards this movie. I should probably give it a second viewing.
Click to expand...

ZT said:
Just saw Memento.
After seeing The Following, Memento, and Inception, I have some mixed feelings about Chris Nolan as a Director.
Click to expand...

Stop over analyzing perhaps?

Let go man, you need to let go!
 
Honestly, the only things I think of that seemed a bit forced and unbelievable are the concept of the Forger and Limbo (yeah, the kicks are a little bit eh, but I feel if I went back through the movie again and deliberately worked at it it could make perfect sense). Limbo was a good idea, and perfectly necessary, but between the going back and forth between different limbos that belonged to different people and contained other people without the bother of the how or the why, just seemed like a deus ex machinima. As many have said, this movie is entirely driven by a really cool premise which required way too much of the movie to set up thus forcing a lack of decent emotional investment and possibility for writing, but it all works out because of a really really cool climax and some wonderful themes.
 
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