Crime, Thriller, Action, Adventure, Mystery, Sci-Fi
IMDB rating:
Christopher Nolan
Ellen Page as Ariadne
Tom Hardy as Eames
Ken Watanabe as Saito
Dileep Rao as Yusuf
Cillian Murphy as Robert Fischer
Tom Berenger as Peter Browning
Pete Postlethwaite as Maurice Fischer
Michael Caine as Miles
Lukas Haas as Nash
Tai-Li Lee as Tadashi
Claire Geare as Phillipa (3 years)
Storyline: Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible-inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.
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Lost in its own complexities
A visual Tour De Force that gets lost in its own complex world, Inception stars Leonardo DiCaprio as Dom Cobb; a rogue 'extractor' who steals elements of dreams and sells them to the highest bidder, all in the name of corporate espionage. But things start to go drastically wrong when Cobb takes on a seemingly impossible job and his dead wife turns up to make trouble.

Ingenious but convoluted, Inception may not be to everyone's taste – but it is undoubtedly a Chris Nolan picture; the same man who gave us Memento, The Prestige and of course, The Dark Knight. The problem is that for all the slick visuals and clever narrative structures, we end up with something cold, clinical and frustratingly diffuse.

Why Inception falters, and I appreciate that I may be in the minority, is that for such a surreal and imaginative concept to work, it requires an equally surreal and imaginative mind, and Nolan is just too conservative and too technical for the content. It might have made a more interesting film had it been directed by P.T Anderson or, dare I say it, Terry Gilliam.
No, not intellectually: there's tons of thought (or at least editing) going on in this film. But there's no characterization, there's no heart (Leo's one anguished cry of "Jesus, noooo!" isn't "heart," it's badly directed overacting), and, worst of all, there's no morality.

I'm an ill-tempered, outspoken, foul-mouthed termagant (that by way of explanation for those about to call me a right-winger, a teabagger, or a prude), but when I watched this thing I was dumbstruck not on an intellectual level (oh, golly gee, we're dream-diving! Like in "The Matrix," only inside brains instead of a mainframe! Wow. Uh, sure.) but on a moral one. See, the film has NO PROTAGONIST. It has criminals, it has those who facilitate those criminals' activities, and it has a victim. That's all.

And, yes, I had-- and have-- a real (or is that "real"-- see, I'm of the camp that thinks the whole sorry mess took place in Cobb's bigger mess of a head) problem with that.

Almost no one (I would have opted for a plain, sweeping "No one," no "almost," but I recall one review among dozens and dozens that hit on what I'm about to say) seems to see anything wrong with the idea that Cobb and his crew are (ostensibly-- pretermitting for the time being the perpetual argument regarding whether the whole sorry scenario is or isn't a dream) performing an act of mental violation on an innocent man. Why is this? The action isn't that impressive (even the infamous hotel-corridor sequence)-- yes, Nolan does "loud" and "in your face" very well, but the Bond films have been doing more breathtaking and cleanly shot action work for four decades now. (I actually laughed out loud when Cobb and Arthur, decked out in pimp-fashion leather coats and stocking masks, shouted threats at kidnapped Robert Fischer in a dream-warehouse-- not, of course, to be confused with a warehouse of dreams (that might invoke imagination): what, you couldn't just have your goons strong-arm a kidnappee in the "real" world, Nolan? This is as creative as you can get?) We can't just proffer "Cobb must see his kids again at any cost!" as an excuse-- or can we? (I would certainly hope not.) Is it because Fischer is a Caucasian businessman, and therefore intrinsically deserving of attack in this economically volatile era? (The argument that Fischer's business rival Saito is somehow bravely trying to prevent Fischer from forming a monopoly is weak at best: that's what anti-monopoly laws are for, and, by agreeing to attack Fischer on Saito's behalf, Cobb is merely enabling Saito to form a monopoly of his own. And, seriously, inception and/or extraction would be ridiculously iffy forms of espionage. Break into the safe inside my skull, Cobb my boy, and enjoy the five hundred verses of "I'm 'Enry the Eighth, I Am" I've got planted there.) Or is it, possibly worst of all, because Cobb and his goons "kindly" leave Fischer with happy thoughts of his coldhearted father? (From monopolies to psychiatry, then: if Robert Fischer has daddy issues, that's what analysts are for. Cobb and his stampeding creeps are in Fischer's mind to commit a crime; any "resolution" they provide him is a byproduct of that crime, and resoundingly, cruelly false.)

We might argue that Cobb and his crew are anti-heroes, but they're not. "The Dirty Dozen" are anti-heroes, criminals and psychopaths nonetheless working for the forces of good by fighting an evil greater than themselves (that evil being the nasty Nazis); Dom Cobb is nothing more than a thief (and, despite the ad copy, not a very good one) perpetrating an insidious act of mental rape against an innocent man (and, by extension, all those who rely on that innocent man's business for their livelihoods). Why all the sympathy for this thug and his crew? What's the catch? When children are involved, or when guilt (real or imagined) is in the mix, are we just supposed to chuck morality out the window...? (The last sad thing, I guess: No one on the team, not even newbie Ariadne-- and, granted, she's likely either a figment of Cobb's imagination, like the story as a whole, or a plant-- questions the "right" of what they're doing. Not only does this make me deeply uncomfortable, it's incredibly shallow writing. An opportunity for character development, tossed. But that's classic Nolan, isn't it? If he can't cover it with an iconic grunt-- "She was lovely," Arthur deadpans to Ariadne, when Ariadne asks what nasty dream-shade Mal was like when she was alive (heck, Arthur, she's still, technically, "lovely"; we were looking for maybe just a touch of explanation here regarding her relationship with Cobb and the team, big boy)-- it doesn't get covered.) Or, in the end, are we just supposed to excuse the immorality of the situation by saying, "Ha! It's all a dream anyway!"? Very much bothered by this, especially since this behemoth has gulped down some one billion dollars in box-office take worldwide....

... and that's why I'm giving it two stars. Cillian Murphy looks very nice in his natty suits, and he cries very prettily before Nolan realizes that-- horrors!-- someone is emoting on screen, and jerk-cuts away. Marion Cotillard does her best to squeeze dimensionality from yet another one-d Nolan-woman part; as Mal, she's a sad, psychotic, lovely mess. One star for each of them. As for the rest of it: what a pathetic reflection on values, and what a lousy story. Excellent snow-job, Mr. Nolan, but no star for you.
Mind Boggling.
Around 750, the renowned poet of the Tang dynasty, Li Po, is supposed to have asked, "Last night I dreamed I was a butterfly. Today, am I a butterfly dreaming I am a man?" Marcus Aurelius, the late Roman emperor and philosopher, wrote, "Life is a dream, a little more coherent than most." Freud concluded that dreams were the fulfillment of unconscious wishes that had managed to sneak past the dozing censor. Aboriginal Australians believed in a real parallel universe called The Dream Time in which everything and everyone who ever existed, still existed, and anybody could enter this place during sleep.

Modern psychology believes that dreams are nothing more than random cortical bombardment caused by a lot of activity in sub-cortical structures associated with the filing of memories, and the cortex goes into overdrive trying to make narrative sense of them.

Sex dreams are pleasant enough except when the furry little animals show up, but statistics demonstrate that the majority of dreams are truly lousy, the kind we can easily live without. Don't you get tired of running in slow motion through a swamp while being chased by an ogre?

Does all this sound like pointless rambling to you? Well, then you're not going to enjoy "Inception" because it meanders at lightning speed all over the place and lives by no rules that human beings have ever known.

On the other hand, if you find these adventitious allusions in some way interesting, then you should see this dark and muddled movie. You get a bonus too, because in its style it closely resembles an action movie from the 1980s. Everything is happening all at once -- or maybe not all at once. Who cares? The point is that people get shot in the forehead and buildings comes toppling down for no reason and slow-motion explosions take place at irregular but short intervals.

I'm getting pretty tired of seeing films that use some bewildering metaphysical scheme as an excuse to show off still more CGIs. I couldn't watch this thing through.
I will try not to repeat some of what others have so brilliantly written in some reviews. I just add this in order to contradict the hype that has allowed this movie to be ranked so high in IMDb. The same has been happening with other movies, and that is a shame for IMDb, which is becoming unreliable.

I want to stress the fact that the only complexity in this movie is trying to figure out how you can invest so much money in a script that continuously makes a fool of the average critic intelligent viewer! The story is not complex. It is deliberately confusing in order to conceal its stupidity. Nothing that really matters is explained in the movie.

And there's so many embarrassing clichés (the recruiting of the team, the episode in Mombassa, the assault of the ice fortress, many of the action sequences)... the average viewer must be disappointed!

And the dreams - which serve as the scenario to most of the movie - are populated by the utmost lack of imagination.

Finally, there's the score, louder and louder, building a suspense that is never there, for everything is a dream, and we do not quite catch what there is exactly that can go wrong...

Well, all in all, the movie is an insult to the average intelligent viewer and, having been directed by Christopher Nolan, an ultimate disappointment.
Incredible-Nolan keeps improving and Inception is by far the best improvement!
I saw Memento very recently, something that turned out to be a great miss.I saw it again, just to make a couple of thins straight-and i'll definitely do the same with Inception.

Christopher Nolan keeps improving himself, with even more complex and multilayer script like this.And i thought Memento was hard to reach by most of the viewers, but no.Inception will keep you mesmerized and captivated by the genius, that's hidden behind it.And not just directors and screenwriters (or with other words-Nolan), but with acting and sound-and effects and editing as well.

When you have a cast like this-i mean Leonardo DiCaprio, Joseph Gordon-Lewitt, Michael Caine, or Marion Cotillard (a personal favourite), the movie just keeps going flawlessly.Most of the crew is the same the Nolan brothers worked with on TDK and earlier in Batman Begins.So the Oscar noms in those categories are a certainty for me.

The only thing one could have against the movie, is the headache one could have.See, most of my friends go to the movies for brainless action, they enjoyed Iron Man 2 and The A-Team, but this movie-you have to see it at least twice, to understand it.The levels and the layers on which thing are happening are so many, that one surely'll miss something vital.This is a reason for not fitting to the mass audience, but i hope that won't happen, because Nolan is one of my favourite directors/writers, and he showed, that the brainless action flicks aren't all of it.There are still movies like Inception out there and still people like the Nolans to make those movies, so it's not all lost.And i hope this movie could show the audience that the story is still important for the experience one could receive, not the endless, constant explosions.Because this is really a one of a lifetime event.

Saying that, i must say, that in a world full of remakes, reboots, sequels, prequels and God knows what, this is a unique chance to see something different and unmatched so far-a strong movie, that, surely will be Nolan's latest masterpiece! My Grade won't change-it's the same for all Nolan movies-sheer 10!
Terrible - fell short in every aspect
This tried to be another matrix - but a) there was already one matrix b) as silly as the matrix is, this is much sillier c) the matrix had some personality, this move has no feel whatsoever

Best example of the lameness would be the "introduction scene" where Dicaprio's character (totally forgettable) shows the young architect the dream world. This scene was totally forgettable compared to the epic action scene between Morpheous and Neo ("Stop trying to hit me and hit me")

Also - there is hardly any build up - it goes from 2 layers of dreams to 6, whats the build up? more layers of dreams? Ridiculous.
Inception; Christopher Nolan's masterpiece?
Dom Cobb leads a highly skilled team, specializing in stealing secrets from people's minds by entering their dreams. When they are hired by a mysterious businessman, Cobb finally has a shot at redemption, but not before achieving the near impossible. Rather than stealing an idea, they must do the complete opposite: Inception. Planting the seed of an idea.

Inception has a multi-layered plot, quite literally in fact. It focuses on the emotional journey of its lead character, Cobb, but at the same time thrusts the audience into multiple levels of action packed story- telling, very distinct from one another, but all finely connected. It has been described by critics as "a film that rewards intellect", and I can assure you that it is exactly that. Director Christopher Nolan challenges the audience to keep up, and rewards those who can with a breathtaking spectacle, one that has the capability to leave you awestruck. The best part about it is that while you may feel you need to watch it again to be able to fully absorb the experience, chances are, you will probably want to.

Christopher Nolan brings his unique vision to the screen with the help of a star-studded cast, including the likes of Leonardo Dicaprio (The Departed), Joseph Gordon-Levitt (500 Days Of Summer), Ellen Page (Juno), Marion Cotillard (Public Enemies), Cillian Murphy (Batman Begins), and Michael Caine (The Dark Knight), as well some amazing photography by long time collaborator Wally Pfister. The thrilling music in the film is provided by none other than Hans Zimmer, who was also set the mood for Nolan's previous film, The Dark Knight.

While it may seem simple at its outset, Inception is an extremely complex film, delving deep into the subconscious of the human mind. Technical brilliance and visual splendor have rarely blended together as beautifully. The emotional depth and explosive action complement each other perfectly, delivering a film that is at the same time both heart- wrenching and heart-pounding. It's a film that manages to engross you with its complexities, yet comes together seamlessly, and will have you at the edge of your seat, quite literally from start to finish.

Inception is magnificent.
Almost a waste of time
The 150 minutes in the theater seemed like 1500 minutes.

Great idea. Good visuals. Horrible production. After all, what was I watching? Whom I liked? Who was the bad guy? Why were things happening on the screen? And, why for so long? That last never-ending sequence on ice. Had no idea who was doing what and why.

I did understand the concept as I was prepared for it after hearing from so many people about the 'complex' script. But to me, it was plain stupid. The producers had money and wanted to use it in action sequence and special effects. Did those fit the plot? Not really. This movie didn't need much action, to be honest. The movie should have stimulated our brains, not ear drums.

Anyway I went because of the hype. Should have known better. But then, it was a dollar theater and Sunday night when Texas Rangers and Steelers both were losing. So, it was OK.
Nolan's Ego
The title pretty much sums the movie up. An absolutely amazing cast and incredible premise was almost wholly pushed to the margin by special effects and "action". My hopes were too high. Nolan was clearly out of his depth as far as intellect goes and totally blew the chance to pull off an epic, unprecedented dream heist flick.

Dear Nolan, if you're reading this: You can give guns, grenade launchers and C4 to a cast of unknown actors, place them virtually anywhere and have them destroy everything in sight for two hours, and it would have been just as good as this movie.

Thanks for ripping me off by luring me in with an allure that promised slick corporate spies engaged in mind games in surreal settings and instead taking it from a promising half-way point into a senseless visceral joyride that was quite literally the cinematic equivalent of van Gogh painting Starry Night then taking a bowie to it and slashing it to ribbons before the paint has a chance to dry.

It's painfully clear that you wrote the script to allow you to stroke your ego with the most over-the-top action flick you could cook up. With the money you spent on all the great actors you employed for this, you could have hired a dozen great writers to develop a script that would have actually been worthy of their talent. You sir, simply WASTED it. I actually feel embarrassed for Michael Caine. That such a fine actor was dragged into this crap is sad. You could have just flashed a still photograph of his face for a few frames and it would have sufficed since you don't pause for even a second to develop ANY of the characters except for Cobb and anyone with half a brain was probably wondering WHY character development was so scant in a film that deals so heavily with the subconscious mind. No, I guess a car chase was more important.

It's entirely beyond me why you tainted your ego-stroking action flick with a genuinely thought-provoking premise when all the "smart parts" flew over the heads of your target audience by a wide berth.

tl;dr version: shallow, pseudointellectualist excuse for making an obscene, self-gratifying action flick. I hope to god you get your money's worth if you actually pay to see this garbage.
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