-Inception Prologue Comic: The Cobol Job
-Final Theatrical Trailer

My single most anticipated movie release of the year is almost upon us.  Anyone else planning on seeing Christopher Nolan's latest sci-fi / action crime thriller / Matrix-James Bond hybrid mindfrack this week?

Hell yes.  I'm not a huge fan of Nolan's, but the trailer for this one has me wanting more, more, more.  Seeing it Sunday, and definitely looking forward to it.

This is the only movie I'm looking forward to this year. I am watching no trailers and reading no (p)reviews.

It opens on the 24th over here, but I can't wait to see it.
Early reviews seem to be very positive as well.

I love my job - what did get at the end of the work day today?  a pass for screening of Inception.  Wow this movie delivers in spades.  A real thinker of a movie, I had to make sure to pay attention to everything so I didn't miss anything important.  I had no issues with any of the acting, and I really loved the effects.  I thought Hans Zimmer's score matched nicely with the film.  I wish I could dream like that, that would be pretty cool.

Overall, I thought it was the best movie of the year.

Oh and what else is my work getting passes for... next month, Scott Pilgrim VS The World.. sweeeeet...

What kind of job do you do then, James?

My uncle had a job with similar perks - he was a representitive for a theater chain who would screen movies and then pick which ones they would show (he's retired now). He used to recommend quite a few movies, but I learned very quickly that we had very different ideas of entertainment.

As for the film, I'm certainy interested, but I wonder what kind of luck I'm going to have in avoiding spoilers. It was no small miracle that I got to see Memento untainted six years after the fact (great movie).

Christopher Nolan x Hans Zimmer + Ellen Page / Leonardo DiCaprio = must see.

I was excited about this before I saw the first trailer and I've just been getting more and more excited ever since. I'm really hoping that I haven't puffed up my expectations too high. XD

I work for a radio station.  A lot of stuff comes through our promotions department. 

Excellent movie. I'm still chewing over the twists, because I think I discovered the biggest one of all. BTW, how do I write spoilers in "white" on here? I wanna share a few of my insights.

*bracket*color=white*bracket* SPOILER HERE *bracket*/color*bracket*

Like this. (Hit Quote in the corner to see how it should look.)

I too saw Inception this weekend.  Twice, in fact.  I've managed repeat viewing of movies in theaters many times before, but never twice in the same day - and certainly not within a six hour time span.  Given the film's subject matter, I feel I can get away with saying this just one time:

"My mind was blown."

It's hard not to wax hyperbole, but Inception is so far ahead of the curve when compared to every other live-action film I've seen this year, that I'm almost ashamed to admit that I saw them at all.  There's little to none in the way of missteps; the cast is pitch-perfect, the script is sharp and extraordinarily well-acted, the cinematography breathtaking, and the plot gripping till the last.  Nolan has always had a knack for creating wonderful character dramas, but tended to show a little more restraint on the action front.  The Dark Knight was a great warm-up in terms of getting closer to the summer blockbuster flavor, but here he goes beyond expectations; the action is chaotically relentless, yet precisely orchestrated with the utmost coordination.  It's a marriage long-awaited, and it's a happy one indeed.

As good as the adrenaline-inducing sequences are, it's the story and drama that's the real draw.  As the heist-like mission comes together, it's surprising to see the movie suddenly become this big ensemble piece; the converging of talents such as Ken Watanabe, Ellen Page, Joseph Gordon-Levitt, and Tom Hardy makes the preparation and execution of this big, elaborate scheme so much fun to watch.  However, it's the layer-peeling of main character Dom Cobb that's the true heart of the film.  DiCaprio turns in an appropriately tormented performance, and the..... frequently tense confrontations between he and Marion Cotillard's Mal (who's haunting eeriness is matched only by her dream-interfering ferocity) are teeming with relishing drama.

As far as the alleged complexities and mindfrack elements of the film go, they're surprisingly low-key.  The logistics and psychological nuances of the dream state may initially fly over your head, but the clarity of the main narrative is explicit enough that you'll easily understand what's happening as it unfolds.  All the same, the devil is in the details, and seeing the movie a second time goes a long way toward fleshing out the whos and the whys of the plot.

Hans Zimmer's score isn't situated on any sort of thematic or melodic plane, but it's still a massive presence in the movie.  "Uninhibited, streamlined gloom" is how Filmtracks' Clemmensen describes it, but the big brassy blasts and the rhythmic, percussion-heavy action sequences shake things up from time to time.  There's a big, spectacular action cue that makes up the better part of the final act in the film that's sadly not present on the album release.

Any complaints I have with the movie are largely self-inflicted.  In light of Nolan's reputation for highly acute detail (you're not Christopher Nolan working on this thing for ten years, just to write yourself into a corner), I'm more willing to throw my own mental faculties into question when attempting to unravel the seeming plot hole or two.  After all, it'll give me an excuse to see the film yet again.

So, I suppose I'll be the first to ask the obvious question about the ending: ..... Did that top ever stop spinning?

I don't think Nolan set out to answer that question, more leave it up to the minds of the audience as to which way they want to take it.... who knows?? wooooooo~ =p

Thanks, SonicPanda. Don't wanna spoil those who haven't seen it, yet?

Angela, I thought the top never stopped spinning. I take this to mean that Cobb's still in his dreamscape and that it's custom-fitted to his one desire to be able to see his kids again. I've been on GameFAQs and I've been working through the twists all last night and I think the title "Inception" has a double meaning. Namely that I think there's a double inception going on. I had a theory that Saito did an inception on Cobb without him realizing it. This of course, ties into if you believe Cobb's been dreaming the entire time, based off of the ending.

Also, I got a kick (pun not intended) out of how they played the kick reflex while you're dreaming with the free-falling sensation. I liked how that worked in context of the film. I definitely want to see it again to further dissect it. This movie goes to my list of cerebral films like "The Fountain" and anime like "Texhnolyze" (which funny enough, also follows similarly on some aspects).

I'm already so far ahead of the curve that I already made the right decision and DIDN'T BOTHER spending money on anything in the theater this year until this film. 

No ashamed thoughts here, maybe you should just let me make your movie picks and save yourself a lot of money.

If "only good film of 2010" isn't a category at the Oscars, those Academy folks aren't doing their jobs right.

Just got back from this and, in short, it lived up to all my expectations. What a fun and wonderful film! It's hard to summarize all my thoughts. The film left me with a lot to think about and I suspect a second viewing is definitely in order. It feels like Nolan has been slowly building up to this film. I could see evolutions of concepts and ideas from some of his other films in this one. There's the action sequences he's been honing in the Batman films, the plot twists and skewed perceptions of The Prestige, and the importance of characters and their dilemmas that seems to underly many of his films. He really does pay attention to detail and I think that's an important and valuable trait for a film director.

There were a couple things that caught my attention on this first viewing. First was that the film's narrative and timeline intentionally made it difficult to determine what was and wasn't a dream. It's interesting because the film starts off a little confusing and then lulls one into thinking that they know what's going on. At the end I realized that things I had assumed to be true weren't necessarily true. Second I was really struck by the lovely cinematography and direction. The whole film really looked great, but the snow fortress sections in particular left quite a visual impact. I love snow, but it doesn't always look good on film. Nolan really nailed it though.

I realize that's not very deep, but I don't want to over think this film until I've seen it a second time. Just a few surface level observations will have to do for now. Although I don't have strong reasoning for it right now, my gut feeling is that the top didn't stop spinning. We'll see if that holds up though. I was also really impressed by Hans Zimmer's score. I usually prefer Zimmer in more melodically inclined environments, but the score was simply beautiful and worked wonders in context. I'll definitely have to pick up a copy of the soundtrack when I get the chance.

Well, that's it for me! Honestly, I'm not sure what else to say apart from the short blurb I posted on Facebook:

"Just got back from Inception and I'm having trouble putting my thoughts into words. I can't describe it without the rampant use of hyperbolic sounding expressions. Descriptions such as "perfect", "best film ever", and "must see" flow all too easily from my lips and fingertips. That said, if you haven't seen it yet, then you really need to get to a showing ASAP."

Ah, but see, if I did it your way, I would've missed out on two incredible animated works -- one of them still the top candidate for my movie of the year.  Hell, for one of my favorite movies of all time.

Curious that you emphasize money as being the main contention for seeing movies.  Going to the cinema isn't exactly a cheap pastime, but for me, it isn't so much about getting cheated out of $12 as it is getting gypped out of a good movie experience.  The sting felt from a poorly made film hurts way more than the sting to the wallet.

I'm glad Inception is drawing non movie-goers back to the theaters.  It's definitely a film meant to be shared with a collective audience.

I'm a bit more optimistic about the end...  I think the top was just about to stop spinning when the screen fades to black.  I like to think while the movie was full of twists and turns we had to see unfold, I think the story is definitely over at the end.

My elsewhere-posted review blurb:
Take the concept of the first Matrix (you know, the good one), remove the kung-fu and spaceships but go way deeper "into the rabbit hole". Production values are of equally high caliber to that film and some of the action and effects sequences even take "bullet time" very much to the next step.
The climax is a bit drawn out and possibly excessive, but the setup is top-notch and as with many Nolan movies there's hardly a minute of down time through the whole film.

The score is for better or worse blatantly Hans Zimmer.  I found it extremely effective in the early moments of the film, though perhaps a tad repetitive around the end.  I doubt I'd buy the album but it certainly serves its place in the film.

I'll definitely see the movie again in the cinema, and am curious to see if it holds up better on repeated viewings than The Dark Knight.

It is here - $5 matinees, and I care too much about what I put in me to buy the overpriced junk food.

There's a 5$ surcharge alone just for IMAX hardware here. And let's be realistic if you're not seeing this film (or most others) in IMAX you're just throwing your money away.

Nice, totally got to give you props on that one. I needed a good chuckle.

I'll be seeing this in the cheap theaters when it hits there. I'll be going to see How to Train Your Dragon with some friends in a few days.

IMAX is not an option here. Guess I threw my five bucks away - I'm pretty thick like that.

Which is why a "Good movie experience" has to include A GOOD MOVIE. >__<

Crappy movies should not be viewed in a theatre, as you concur that they indeed feel *even crappier* in that environment.  Most movies should be home view rentals, only the very top candidates should even be considered to be viewed at the theater.  And Inception is a worthy theatre candidate.

(and let me know how I can cheat you out of 12 dollars each week too, since you don't seem to mind)

Unless I get a free screening thru work I generally don't go much to the theatre anymore unless it's something I *really* want to watch.... that's why I have Movie Central at home.  but me thinks this topic has gone a little off topic???

And from the outset, what exactly constitutes a crappy movie over a top candidate?  By what the critics say?  By the amount of people who are interested in the movie?  By the trailers?

As I've said before, I have my preconceptions about every film I plan to watch, just like anyone else.  But no movie ever indiscriminately goes into the "crappy" or "top candidate" category until I've seen it for myself, and deem it so.

Back on topic, anyone took a look at Cinema Blend's FAQ guide for the movie?  They break things down pretty well.

-Cinema Blend's FAQ
-Cinema Blend's Illustrated Guide To The 5 Levels of Inception

Major spoilers for both, natch.

I thought Inception was pretty great.  It reminded me of how I felt about the original Matrix film before that series went to crap.  The multilayered dream sequence was the obvious highlight of the film, and it was nice to see something that felt original on the silver screen for a change (regardless of how original it may actually be).  From a performance standpoint, Tom Hardy's character was probably the most fun, and brought some much needed humor to the film.  I'm not sure I particularly care one way or the other about how the ending is interpreted (either outcome is acceptable), but I did find the central thesis of the film of an idea being a parasite to be particularly compelling.

Allow me to illustrate with the most obvious application that comes to mind:  Let's say you're in a relationship, and you love the other person and trust them implicitly.  Now let's say some highly ambiguous information comes to you that could possibly suggest a reason not to trust the one you love.  The ambiguity of that information makes it of little worth in and of itself, but sometimes its mere existence, however inaccurate it may be, has the ability to hijack future pieces of information, coloring them and feeding the original bit so it grows in size and strength.  Your perception starts to change and you begin to test the environment for further information that will either prove or disprove your possibly tainted notion.  Unchecked, this can lead to a vicious cycle and the ultimate self-fulfilling prophecy of a true reason not to trust caused by the lack of trust (after all, if you're testing the relationship, you're not really trusting anymore, are you?).  Of course, reality isn't that simple, but it's interesting, no?

Yeah, I definitely picked up on that (Awesome movie BTW, great on the Imax screen)...I think a similar concept could be applied to those that suffer from anxiety / panic attacks.  Panic/anxiety can come in many different forms, but the idea of panic can start small and then grow into a full blown panic attack.

I liked the ideas they touched on re: the power of the mind, and the idea of dreams that occur for many hours, days, years.  Good sci fi

It's very simple and very EFFECTIVE.  I watch one trailer and if it doesn't contain something very compelling or very unique, then I don't even consider a theater ticket.  Immediate gut reaction, DONE.

If you've got bottomless pockets, then your policy of "watch it first, then decide" is perfectly acceptable.  I use that policy at home, not the box office.

Hardly bottomless.  I'm bound by a recreational budget just like everyone else; it's just that a good chunk of it is preferred to be spent at the movies.  Call it a stubborn passion for cinema.

I was speaking in hyperbolic terms when I said I was ashamed by the movies I'd seen this year.  Inception is an amazing film, but to extents larger than less, I enjoyed just about every movie I saw in the theaters up till now.  (Except Alice In Wonderland.  That shit can rot in the rabbit hole for all eternity.)

LOL - Tell us how you really feel! (now reading your review. . . )

Update - Just read it - wasn't too harsh...this one didn't appeal to me tho...

I was being kind.  Watching it a second time at home made me realize what an insurmountable chore it is to sit through.

This post is dedicated to my new thoughts on Inception. THERE ARE SPOILERS BELOW! I didn't want to white out the entire post, so I left it as is (it is on page 2 after all). PLEASE proceed with CAUTION if you fear SPOILERS!

Just got back from seeing it a second time and it held up really well. Knowing what goes down, the beginning felt a little slow, but things eventually picked up again and it was fun looking for "clues". Even with a second viewing there is still a lot to process. I haven't been able to reach a conclusion yet, but I did pick up on a few new things and I am leaning towards one particular theory. The theory is that Cobb has lost touch with reality and is in a dream the entire time. Some of the things I've seen that push me this direction are:

-Non-linearity: the film, like a dream, lacks a clearly defined beginning and end. It's a collection of segments that are loosely connected by Cobb's narrative. This is a weak argument, but I feel it is worth noticing. There were a variety of ways to organize and present the story and this particular decision warrants consideration. The story really does feel very surreal.

-The children: we never see Cobb's children in the "real world". Not until the very end that is. He has no photos, videos, mementos, nothing. We hear them once on the phone and that's it. It also bears mentioning that only Cobb experiences that phone conversation. No one else is present. When we do finally see the children at the end of the film, they look just like they always have; same age, same clothes, same activity, same everything. The only difference is that Cobb accepts them this time. Nothing else has really changed.

-Cobb's delusions: when dreaming, aspects of Cobb's life pop up repeatedly; Mal, the kids, the train, the broken glass, the balcony, etc. Some of these things creep briefly into the "real world" though. Granted, they aren't exactly the same as in the dreams, but there are a couple instances when Cobb thinks he sees them in the real world. Perhaps he's just a little unstable, or maybe things aren't entirely the way the seem.

-Real world projections: as Mal observes in Limbo, Cobb is always being pursued in the "real world". There's the police in the US, enemies Cobb has made while doing jobs, angry employers, etc. All the main characters in the film also offer some sort of insight to Cobb (especially Ariadne). Some characters even have very specific lines that seem to question reality and Cobb's perceptions of it. In fact, the only character that seems positive he knows what's real and what isn't is Cobb. Everyone has their doubts from time to time except him. He's obsessed with his totem and the "real world".

-Cobb's totem: and that brings us here. Cobb's totem isn't his totem at all. It was Mal's. She conceived it, she shared it with him, and it seems that he may have in fact gotten his exact model from her. Doesn't sound like a very effective totem does it? This particular totem is also used as the symbol for the secret that Mal hid away and the Cobb tampered with. There's something more going on with this totem than meets the eye. There's the scene where he drops it and Saito also gets to hold it towards the end of the film. If nothing else, I think it's safe to assume that this totem is corrupted and not nearly as reliable as we, and Cobb, believe.

The story really seems to be exclusively about Cobb. It's about his unresolved conflict (guilt) with Mal and his perception (acceptance?) of reality. Both of these issues are present at the film's start and both are resolved by the end: Cobb has dealt with Mal and has accepted the world that he's in (real or not). Whether or not the top stops is immaterial because Cobb doesn't care and thus we, as the audience observing his journey, don't really need to know. Add to that the fact that the totem may not even be reliable in the first place and the issue isn't really an issue at all.

Seeing the film a second time and thinking about it has changed my perceptions a little bit. The first time I was really hung up on the end: what happened? Was Cobb really home? This time around that didn't feel so important. Cobb stopped caring and accepted where he was. That rubbed off on me and, instead of trying to unravel the ending, I was more interested in trying to get inside Cobb's mind. We spend a lot of time there (perhaps even the whole time) and so it seems pertinent. That's when I started noticing some of the character interactions. I'm having a hard time remembering specific lines, but there were several that just felt out of place. The majority of them came from Ariadne and Miles (grandpa). They feel so much more like projections than independent entities.

I don't know. It's so easy to read too much into a film like this one. I kind of like that though. As for the ending... although I didn't focus on it this time around, it still felt fake. Everything was just too perfect. Everyone was there, it looked the same as in Cobb's memories, the children hadn't changed, Miles (grandpa) was there waiting, grandma was nowhere to be seen... it's just too neat a package for me to accept. Everything else in the film was so complicated and gray. I find it hard to believe that every single conflict could be resolved with a single phone call. It feels more like a mental success for Cobb. He's worked through his conflicts and reached closure. Reality? Maybe, maybe not. He's obtained his goal though and his journey is complete.

Any new thoughts from you guys? Notice anything new on a second viewing? I think it's time for me to start seeing what the internet has to say. :3