Christopher Nolan works above almost every other Director working today. He exists with a rare few, who seem to achieve the impossible with almost every film they direct. His films are at turns, brain bustingly clever and original, but most important of all, entertaining. He does not pander to his audiences; rather trusts that a clever and original story well told will be all they need to grasp onto the world he puts them in. Don't forget that Nolan never tries to wrong foot or trick his audience (The Prestige aside), rather he is just asking them to go along with his characters for the ride. His stories are straight forward. His own original spin he puts on them, is what separates them from the norm. Whether it be "Memento's" detective story told backwards, "Insomnia's" shifting good/bad guy dynamics, "Batman Begins" audacity in (for once in it's long history in cinema) focusing on the highly complex title character, "The Prestige's" box of tricks non-linear narrative or "The Dark Knight's" obsession with how far can a hero stoop to stop an enemy threatening everything he stands for, Nolan tells conventional stories, in the most unconventional ways. In his new film "Inception" he does so in ways far more daring and thought provoking than anything he has explored before. In fact, there are things in "Inception" which I have never seen attempted in cinema before. Nolan has always loved playing with time and daring linear subterfuge, along with audiences perceptions of that which he puts on screen before them. Here he almost outdoes himself on everything he has achieved before. Not bad work considering he has yet to make a bad film and his last, is one of the highest grossing of all time. I will say off the bat that I consider "Inception" a masterpiece. I show nothing but unashamed love for this film. It plays on levels far beyond what Blockbuster entertainment should be and offers epic visuals, Art House cinema could never have the budget to muster. Apologies for those unhappy with the arse licking that is going on display here and for those who disagree with this review, however I will go on to describe just how and why "Inception" is the best and most important film this year.
For those who haven't yet seen this film I will say bypass this review. The films success is best achieved knowing as little as possible and just letting the world this film has to offer unfold around you. The plot exists in a world where 'dream-sharing' exists. This allows people to break into the dreams of certain 'marks' to then steal important information which can then be in turn used against them. We follow dream expert Dom Cobb (DiCaprio), as he and his specially assembled team, then break into a persons mind, for that one last elusive job. Of course there is far more going on than this, which would be too cruel to spoil here. That the film has plenty of surprises up its sleeve is an understatement. It is the most original heist movie you might ever see. DiCaprio is very ably joined by Joseph Gordon-Levitt as his right hand man, new 'Mad Max' Tom Hardy as a 'dream forger' and Ellen Page as 'the architect'. Page in particular acts as the audiences introduction into the world while also balancing an emotional counterpoint, crucial to DiCaprios character. We learn what the rules are, how it works and what the dangers are of dream sharing through her. Irish actor Cillian Murphy turns up as the unassuming 'mark' who DiCaprios team are trying to subconsciously break into. Ken Watanabe impresses as the client who originally offers the job to Leo's team along with the tantalising prospect of Leo's character finally being able to return home upon its successful completion. Marion Cotillard shocks (however to speak much about her part, would spoil too much of the story) and even Michael Caine turns up in a small role as Leo's professor. The cast are all uniformly excellent. Nolan works his ensemble so that everybody gets something to do and is very memorable in their own right, without ever losing track of the overall story. Murphy in particular entices (and is given the only other character arc of the story other than Leo's) as the young entrepreneur struggling to come to terms with the death of his Father. No mean feat considering he has a lot to do throughout films running time. Hardy also impresses and gains most of the films laughs as the sly Eames, while Gordon-Levitt is given the most awe-inspiring action beat of the film, as one of the most original fist fights ever staged is conducted in a revolving hallway. Even as the screws tighten, and the film grows ever more action packed and tense, Nolan never loses sight of character and emotion. Some have crticised the film as while being technically stunning, lacking in emotion and depth. How this could be argued is beyond me. It is Nolans most emotional film to date and this drives the entire narrative. It is about one man trying to get home to see his family. It is about the dark secrets of regret and angst that everyone carries around deep inside them. It is about learning to let go of the past and come to terms with your world as it is now. In essence, it is all about emotion. That, and huge explosions.
Nolan had been working on the script for over 8 years. It was only with the astounding worldwide and critical success he had with 'The Dark Knight' that he suddenly discovered how to complete it. The fact that he also was given over $170 million to achieve his vision, I'm sure also helped. Forever fascinated with the inner workings of the mind, Nolan loves making his audience think. When the film was first announced it came with the tantalising prospect as being 'a sci-fi thriller set within the architecture of the human mind'. 'What the hell could it be about?!' we all pondered aloud to each other. This again is part of the Nolan way; he never once set out to deceive us. This is exactly what the film is about. That it is that and so much more may not come apparent until seeing the film itself. The story is very straight forward and apart from a few brief flashbacks is almost completely linear. But this is where something quite extraordinary happens as Nolan, within the rules he has set for himself in his dream world (as most of the film is set) is able to stage sequences on top of each other, each set in different realms of the same dream. If it sounds complicated, it isn't as Nolan ensures that in between all the car chases and gun fights, the story is kept resolutely clear at all times. The only thing is that the story is so unlike anything we've seen in quite a while and provides almost limitless ideas for the film and our own minds to follow, and as a result, is quite a mind bender. Nolan has the audacity to at some stages of the film work 4 different action scenes on top of each other, in 4 different dream realms all at once. That each dream level has longer stages of time than the one prior, means that he plays around with time in a way that I have never seen attempted before in a film. I believe this (in the same way "Memento" was noted for) ability to play around with readily established timelines and means of telling a story in such an original manner deserves to be studied for many years to come. Nolan really is that good. Or that may just be the arse kissing I warned you about earlier again.
Leonardo DiCaprio, for the second time this year is a revelation. From his beginnings as the heart throb of the month well over a decade ago now, he constantly challenges and exceeds expectations in every role he commands. In fact his earlier film this year "Shutter Island" could work as a nice (brain bending) double feature with "Inception" as both films deal in similar themes of warped reality and distorted perceptions about what we believe to be real around us. Here he offers untold depths and distressing memories and regrets about the past. However, what separates it from his detective in "Shutter Island" is that the audience gets to physically travel into his subconscious, to better understand the inner workings of him and his traumatic past. His complex and very weighty emotions is what drives the plot. That "Shutter Island" is my second favourite film this year speaks wonders about his talent and ability at picking stand out parts. I am however sure at this stage that he must be aching to do a comedy after all these po-faced roles.
So arse licking all over, what we are left with is a stunning thriller. In a year seemingly devoid of originality and excitement in the theatres, Christopher Nolan has once again captured what films full of good story telling, acting and originality can achieve and it is far more than 3D or mindless CGI can muster. Nolan doesn't make movies for the Summer, he makes films for the ages as all the best auteurs do. In the lacklustre year of cinema it has been, along with excitement generated by "The Dark Knight", Nolan had a lot of hype to live up to. Maybe that he exceeded it is not surprising, seeing as he has done it so many times already, but that the film is a success in all the unforseen ways it is, should be applauded. In selling their biggest film of the summer without any previous tie-in to any film or comic before it, Warner Bros. took a huge risk which paid of handsomely for them. The film never pauses for one moment and yet incorporates character and emotion seamlessly into its narrative to stunning effect. It's most minor criticisms stem from not much characterisation from those after Murphy or DiCaprio, and its long running time. All of this is insignificant however. Nolan once again achieves the impossible in cinema in glorious fashion. This is a film to be watched and studied many times over, to work out its many stunning idiosyncrasies. It is a film that will not leave your mind after first watching it. It is a film as this review will tell you, I love. If we see any film until Nolans 'Batman 3' that even comes close "Inceptions" excitement and stunning film making, then we will be very lucky indeed. This is not a dream, "Inception" is indeed, far and away the best film you will see this year.
Verdict: 91%
Christopher Nolan returns with an epic study of emotion, regret and loss. His first original work since 'Following' over a decade ago, and it's a belter. Shot with Cinematographer Wally Pfisters stunning eye, another classic score by Hans Zimmer and the most exciting action you may yet see all year, Nolan is back showing was can be done with the magic of cinema.
