Inception (2010) – Review

Don Cobb (Leonardo DiCaprio) is a thief whom of which infiltrates deep within a sleeper’s subconscious during their dream-state and extracts their most precious secrets. Cobb’s unusual skill and espionage have him a fugitive and distanced from his children living in America. The opportunity of Cobb’s final job presents himself with, upon success of completion, a clean slate which would in turn, grant him with the opportunity of returning home. However, the job itself is not so simple. Rather than extracting an idea, secrets, from a subject, Cobb is to plant one there—inception. He is to put together a team and implant an idea into the subconscious of Robert Fischer (Cillian Murphy) a heir to a multi-billion dollar empire. The art of inception is a craft that requires one to delve deeper into the levels of a dream, an action of which is life-threatening and because of the depth they are descending could forever trap them in Limbo—an expanse of the subconscious not controlled by one individual—if improperly approached and executed.

To appreciate Inception, one must descend down the rabbit hole, farther than they themselves even imagined possible. Then do it all a second time over. Inception is the apotheosis of cinema today. The film’s unforgettable expanse is truly breathtaking and it impresses in every possible category. Nolan’s vision unfolds in what would have once been an unimaginable, analytical fashion—be it now considered the height of Hollywood awe. Inception however, would not be so brilliant without the composition of Hans Zimmer’s latest score which booms and captivates in what is truly his magnum opus.

Nolan’s Inception is expertly analytical and because it carries such a tremendous amount of depth creates an immersion unlike any other. The film does hold the hand of its audience for quite some time as Cobb is putting together his team, but without such guidance the audience would feel less connected to each individual whom of which were brought in. Being there, learning of each character, feels natural; almost as if we ourselves were experiencing it.

It is then that Inception lets go and it is this Wonderland that we fall into, where each layer is seamlessly connected to the next through the slightest of items. We are simultaneously experiencing a multitude of layers all of which are happening at different intervals in time. All of which we are seeing unfold on screen, one after the other after the other, back to the other and again. This lapsing and weaving of events is so tight, so masterful that it is a true display of Nolan’s ability.

The performances are all well-done and each character is likable though it is Gordon-Levitt’s character, Arthur, that is of most notoriety. Not only due in part to a spectacular performance, but the character himself is though strong, able to make us laugh. DiCaprio’s portrayal of Cobb is one that though at times seems ordinary is most often gripping. Marion Cotillard as Mal, Cobb’s wife, his muse, is to a brilliant performance. Page, Watanabe, and the rest of the cast do a fine job as well.

Inception‘s scope is grand and make no mistake it is a BIG film. The cinematography here is enthralling, vivid, emotional. The environments in the dream world(s) and too the real word are meticulously arranged where even a corridor appears to carry its own aesthetic liveliness and is just as appealing as a mountain top. Both worlds, dream and real, are indistinguishable from one other—save for certain possibilities in the dream world that are unable to occur in the other and visa versa. For it is only by way of such distinctions that the two are separated.

What is more is that Inception perhaps is Nolan expressing his process of developing a film, not unlike Fellini’s 8 1/2. Each member of Cobb’s team (Cobb as well) all have distinct specialties paralleling that of a production team. Cobb as ‘The Extract’ is the director, Mal as ‘The Shade’, his unpredictable muse. Ariadne as the ‘The Architect’, the screenwriter. Robert Fischer, ‘The Mark’ as the audience. And so on. From such a perspective, there is yet another dimension of the film to explore.

Inception is 2010’s best picture which exhilarates and awes throughout its cinematic nuances that are unlike anything yet produced. It is certainly Nolan’s masterpiece and a triumph in film which need not be missed.



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