Inception
Directed by Christopher Nolan
Starring Leonardo DiCaprio, Joseph Gordon-Levitt, Ellen Page
Rated PG-13 for sequences of violence and action throughout
It’s been widely reported that the plot of Inception was a tightly kept secret, so that no spoilers would leak and the film would remain a mystery. The truth is, the intricately wound plot is so elaborate, that it is impossible to let anything “leak” without explaining the three or four other plot points connected to it in order to explain why it’s a spoiler. Any plot summary will seem cryptic and vague, and I’ve already erased and rewritten attempts three times. It’s a mind-bending heist movie about so much more than whether or not the heist goes according to plan. It’s a thrilling action movie that is as much about the nature of how we deal with regret and pain as it is about innovative, explosive fight scenes and special effects. It’s a completely original work that deserves to be mulled over and wrestled with and absorbed and enjoyed. Beyond that, I guess all I can say is that it’s a movie about a team of dream thieves trying to implant an idea instead of steal one.
Inevitably, without being able to suitably tell what the film is about, we must then try to explain what it is like. A very prominent blurb used in the advertising for Inception declares that it’s “James Bond meets The Matrix.” To try to compare Inception to anything that’s come before it is erroneous and will do nothing but cause viewers to see it through the lens of films it’s been compared to, perhaps causing them to miss what a unique and special movie it is. Inception is a masterpiece that has been amazingly visualized and vividly realized. Mysteriously compelling from the first scene, Nolan immerses us in a world and concept so vividly imagined that there is little need for catch-up. He seamlessly weaves a high-concept story with an action style, where the concept and the story cohabitate, with one never taking momentum from the other.
For a film that turns genres and conventions on their heads, Inception remains surprisingly nuanced and subtle. It shies away from the typical inter-heist relationships, with no blossoming romances or bad blood muddying the waters. The characters are all professionals out to finish a job. Concepts such as “it’s all a dream” and the x-factor messing up the big job are not sprung on the audience, but are introduced early to great effect, serving to ratchet up the tension.
At the risk of hyperbole, I dare say that Inception is one of the best examples of what film can and should be. Every aspect is first-rate, from a seemingly flawless script, to a vital, ominous score, from seamlessly integrated visual effects and set design to a unique, varied and talented cast. Nothing is extraneous, and aside from a few scenes, there is no over-explanation. Nolan never abandons his concept or craftsmanship in favor of a cheap thrill, yet he manages to keep the story infinitely thrilling and intense.
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Ryan Ebling has an as-yet meaningless degree in English and Communications. He currently works in a high school special education classroom.
Even the screen shot you have at the top of the post looks perfect! So good.
Just saw it. My mind is totally blown, I’m considering it as a possible winner for best films of the past five to ten years, and am prepping an article for GTRM about why Christopher Nolan is, in my opinion, one of the most effective storytellers of our generation in film.
Colin, I had the same idea. I was going to do a bit of a retrospective, but by all means, have at it.
Don’t feel the need to hold back. I’m sure we both have something valuable to say, and if our blog-zine is totally Nolan-dominated for a week as a result of his brilliant film, I think I’m totally okay with that.