Archive for Zimmerman

Review: Inception

Posted in Review with tags , , , , , , , , , , , , , , , , , , , , , on July 16, 2010 by thenewserials
Inception poster

Christopher Nolan Strikes Again

This day Two Years ago, I was eagerly awaiting the release of The Dark Knight. I was obsessed, fanatic, you name it I was it for Christopher Nolan’s new installment to the Batman series.

This year I wasn’t as excited for Inception. One could call it a quiet excitement, there was nothing that could convince me that this film wouldn’t be good. But there was nothing that would have convinced me it was going to be as amazing as it was.

Apparently written by Nolan when he was sixteen, Inception is a crime thriller revolving around stealing secrets from someone’s subconscious in their sleep. Cobb, played by Leonardo Dicaprio is the lead criminal to use the technique of stealing from dreams. ¬†Plagued by a past that becomes more apparent as the film goes on, he is offered a way out if he can perform an ‘Inception’ successfully.

‘Inception’ is pretty much the same as stealing secrets from the mind during sleep but, instead it revolves around implanting a thought into the mind and allowing it to mature as if the victim thought of the plan themselves.

I won’t post any spoilers but, from there the movie gets complicated, a fair warning should be put in to effect here. If you aren’t planning on paying attention 100% of time during Inception then you should forget going to the film at all. Nolan’s masterful epic, insist that the entire audience be into the moment of the film at all times. Forcing you as the viewer to think constantly about the actions, ramifications and simple logistics of what’s happening on-screen.

That being said, everyone won’t enjoy Inception just as people had complaints that The Dark Knight was too complicated, Inception is far more complicated and a movie, seemingly, designed to make the viewer think before, during an after the film.

The acting in the film is solid, which is normal for Nolan. Knowing how to pick his actor’s and exploit their strong points whilst pushing them in new directions, you find yourself easily involved in the relationships of the characters in Inception.

Dicaprio is great as the scarred Cobbs as well as Joseph Gordon Levitt is a great addition as his partner ‘Arthur’. Ellen Paige is acceptable is as the moral compass: Ariadne and Ken Watanbe, Tom Hardy and Cillian Murphy are, all three, perfectly cast as Saito, Eames and Robert respectively. There’s not much else to say other than they play the parts with the edge that’s needed by the vulnerability that’s essential to make their plight seem reasonable.

The construction of the movie is confusing, and probably done so on purpose. The more confusing the audience feels the situation is the more acceptable it is to understand why the characters are stuck in the situation that their in. Taking place in several layers of dreams Inception dares to be bold in its ideas. Unafraid to dumb itself down for the masses, in continually builds itself up to a behemoth that can only be awed at in the end.

The movie is presented as a visual movie, its something to be SEEN. Often times people say: “this book would make a great movie” or “This movie would have been a great book” but, Inception was clearly meant to be a film. Not in the same way that blockbusters like Avatar and The Last Airbender need to be superficially seen, Inception‘s heart comes from the depth of it’s goal to be an instrument of visual story. Though there is ming boggling CGI in the film, it’s really some of the less obvious moments that stick out of my mind, such as two different reflections of one character in a mirror, A van falling off a bridge, A freight train careening down a busy city street, or simply the last image of the film. These sights are awe-inspiring because of their reasonings for being there, not solely for the aesthetic pleasure the eye receives. It’s refreshing to know that Christopher Nolan sees his world in such a way and isn’t reduced to adding pretty shots for the sake of filler, no, EVERY shot in Inception feels as if it’s purposeful and mandatory to get the story across.

Hans Zimmerman’s score is perfect and doesn’t replicate itself as being ‘Batman-esque’. Zimmerman is able to completely dive himself into the world and bring it up in music. As an owner of many film soundtracks I often say, for the best soundtracks that the score tells the story on the screen perfectly and leads the scene forward but, Inception is a welcome change. The score follows the story and the visuals, creating an audible guide-track for you musical senses to follow as you’re being thrust into a world that is defined in such detail that it arguably does EXIST in reality while it is being shown.

While everything is wonderful in Inception nothing outweighs Nolan. The acting, the visuals, the music, it’s all masterful but, doesn’t begin to touch the sheer awe of Christopher Nolan’s mind. Everything falls second to the knowledge that this man was able to think of the story and projected into a film of such high quality. It’s smart without being pretentious, fun without being campy and adventurous without being daft.

Nolan has all his wits about him and scenes like the fight in the hotel hall will show you that he is one in a million. Sure visually we have seen this sort of thing before in films like The Matrix but, we have yet to see it with such purpose that knowing WHY it’s happening is just as enjoyable as seeing the action being done.

I could gush on and on about Inception but, there’s no need. Those who know Christopher Nolan’s work and enjoy him know their in for a ride and those who don’t haven’t bothered to experience his full-house of film credits yet and deny themselves.

Inception is a glorious feat of intense, immense and refined talent and Christopher Nolan rightly earns my pass for ‘viewing without knowledge” meaning he could tell me his next movie was about the painted lines on the street and I would first in line with an ear to ear Grin on my face.