Inception

IncantatioN

IncantatioN

Comes out tomorrow night (midnight), and I have a feeling it'll be pretty good. Nolan's good at what he does, and the cast is amazing, hell, the plot too. I hope it does well! I'm gonna probably watch it with a close pal next week when he gets paid, damnit :puck:.

Anyone else going to see it this weekend?
 
Griffith

Griffith

With the streak of a tear, Like morning dew
Damn it, I was going to make a similar Inception post in the movies to look forward to thread but forgot (I just wanted to post in there for a change =)! There's an above average chance I'll see this. Unfortunately, my average is 0%. :ganishka:
 
IncantatioN

IncantatioN

I'm glad Nolan isn't a fan of 3D and put his foot down when it came to the studio deciding to convert it into 3D, like Clash Of The Titans (for example which was also originally shot as just 2D).
 
Walter

Walter

Administrator
Staff member
I'll be seeing this either tonight or this weekend, depending on how much time I have. I know next to nothing about this movie, and really don't have any great expectations, though I am a big Nolan nerd, so that's already coloring my expectation...
 
Griffith

Griffith

With the streak of a tear, Like morning dew
I'm hoping my friends are interested in seeing this next week sometime.
 
Dar_Klink

Dar_Klink

Last Guardian when? - CyberKlink 20XX before dying
Can't wait to see this actually, first movie I've been somewhat excited about in a while. Might even see the midnight release if my friend can get us in for free. :badbone:
 
IncantatioN

IncantatioN

Dar Klink said:
Can't wait to see this actually, first movie I've been somewhat excited about in a while. Might even see the midnight release if my friend can get us in for free. :badbone:
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I'm bummed those midnight shows aren't sold out yet :azan:
 
S

Soli

This movie actually looks really good..Reminds me of other dream scifi/fantasy movies: matrix, what dreams may come, the cell, paprika, etc

EDIT: So I saw a midnight showing. MAN, it was really amazing. Nolan can really, REALLY write/direct amazingly. I strongly suggest people to check it out. It has a great plot, great acting, tons of actions, amazing cgi and a truly amazing, and long climex sequence. really liked it alot.. :)
 
yesmilord

yesmilord

千年王国
I'm awaiting the barrage of analysis on the ending to start right here!
I want to hear what people think, but here are some observations my friends and I made after watching the movie:

1. Mal's Totem: one of my friends pointed out that you never actually see Dom's totem, and that he uses Mal's totem throughout the course of the movie. Since they bothered to make such a big deal out of the totem issue, one can conclude that Dom never made an actual reality check because he had been using someone else's totem the whole time. One rebuttal to this argument is that Mal was already dead and that ownership of the totem is irrelevant as long as one understands the weight. However, how could Dom understand it if he never touched it in real life?

2. Waking from Limbo: another friend pointed out that during the final airplane scene, Dom and Saito wake up without any machinery attached. They also woke up without a "jolt". My argument was that the time it took for Dom to find Saito was in actuality just the short amount of time during the actual airplane flight. However, because Saito died and entered limbo, he had aged much more than Dom did when Dom showed up. The scene cuts from them reciting each others' lines because of the altitude drop serving as the jolt. By then, everyone had already removed the machinery and were just waiting for the two to wake up.

3. Spinning Top Scene: if the first scenario I mentioned is indeed correct, then Dom is actually so deeply wrapped in layers upon layers of dreams that he can no longer differentiate dream from reality. It's like that one Twilight Zone episode where the guy kept waking up from nightmares - except in this one the "dream machine" serves as Dom's way of constantly digging deeper into the dream world. While various sites have mentioned that this is supposed to be a "buzzed" and "open-ended" finale, I'd like to think that this entire movie was but a segment of Dom's larger dream that he never left.
 
Death May Die

Death May Die

yesmilord said:
I'm awaiting the barrage of analysis on the ending to start right here!
I want to hear what people think, but here are some observations my friends and I made after watching the movie:

1. Mal's Totem: one of my friends pointed out that you never actually see Dom's totem, and that he uses Mal's totem throughout the course of the movie. Since they bothered to make such a big deal out of the totem issue, one can conclude that Dom never made an actual reality check because he had been using someone else's totem the whole time. One rebuttal to this argument is that Mal was already dead and that ownership of the totem is irrelevant as long as one understands the weight. However, how could Dom understand it if he never touched it in real life?

2. Waking from Limbo: another friend pointed out that during the final airplane scene, Dom and Saito wake up without any machinery attached. They also woke up without a "jolt". My argument was that the time it took for Dom to find Saito was in actuality just the short amount of time during the actual airplane flight. However, because Saito died and entered limbo, he had aged much more than Dom did when Dom showed up. The scene cuts from them reciting each others' lines because of the altitude drop serving as the jolt. By then, everyone had already removed the machinery and were just waiting for the two to wake up.

3. Spinning Top Scene: if the first scenario I mentioned is indeed correct, then Dom is actually so deeply wrapped in layers upon layers of dreams that he can no longer differentiate dream from reality. It's like that one Twilight Zone episode where the guy kept waking up from nightmares - except in this one the "dream machine" serves as Dom's way of constantly digging deeper into the dream world. While various sites have mentioned that this is supposed to be a "buzzed" and "open-ended" finale, I'd like to think that this entire movie was but a segment of Dom's larger dream that he never left.
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I disagree, although it is apparent the Nolan wanted the film to be open ended. I think the top starting to tilt symbolized it was reality.

But my review for the movie I've been waiting for all summer. Its a pretty good film. Overall very original, and carefully thought out. It throws a lot at you to keep up with. I'm glad to see each character was used strongly, and that Leo once again came through to be a very creditable actor. The movie has few weak points.
I found there isn't a ton of action or CG as the trailer may of left the impression there was. Which, I found to be favorable because there is a so much stuff to keep track of. I'm glad the casting crew took a chance Joseph Levitt and Cillian Murphy. As I wish to see them in more films.

I think the movie has a lot of philosophy.
About dreams, in dreams, and when you die you wake up.
Nolan and his brother used a great concept and expanded on it. One of the first questions that came up was, "Was it better than the Dark Knight." Well, when it comes to the way it was films, they are very similar. They are both deep and have a lot to say about morals and philosophy while throwing action in there. But I think they are very different, as in one is original and the other is created from source material. Inception creates itself, and very much delivers. The Dark Knight, is different, it had a special kind of hype that the film strongly measured up to, and I feel that played in a huge factor of its reception from viewers. Both movies beg for multiple viewings. It of course comes down to taste. If you like batman, The Dark Knight already has a head start on Inception. But Inception has enough to offer to be worthy of comparison. To question if its a better movie. (It maybe.)
Both DK and Inception have a "heist" theme/sub plot and I would say inception's story forces you to keep track and embedded in whats going on. Where I think The Dark Knight kinda flirted with sub-plots. Inceptions heist is the majority of the movie. DK's heist (There is multiple heist, plays more secondary to character developments. I feel.

Overall, its going to take either a few more days, or a few more viewings to find out how I feel about the film, to grasp what it is and what it wants to say. Its one of a kind. The Dark Knight also had me doing these after leaving the theater. There is just so much going on. But I will say the film delivered, it put a smile on my face, I feel my money was not wasted. It was without question above average. I recommend seeing it, there is no reason to wait. Its a very smart film that uses its twist and turns very well. 10/10
 
Proj2501

Proj2501

Fuckin' loved this movie. (late going to bed now) Will rant later.

*Back*

So, if you haven't gone to see this yet, go. It's a very well done movie. The acting is great, it's filmed berry good and the music...oh the music. :casca:

While the movie does make me think of Shutter Island at times or even the Matrix, Inception is sophisticated, sexy and isn't ridden with any real cliche moments. So much is done right that to nitpick would be trying to find fault. There's plenty of detail crammed into this movie and it's important you pay attention while watching.

The hallway fight was a treat to watch. Loved the notion of time compounding within dreams. When I first saw SLOW MO shots I was thinking why do I need to see that in SUPER SLOW MO man? Then enter the time compounding idea and the
van falling for 15+ minutes
made total sense and I couldn't imagine it any other way.

It's been awhile since I left a movie and wanted to stay just to watch the credits just to listen to the score. I wanted more of this movie. I liked the ending. Alot.
You could see the totem wobble ever so slightly, I vote he was in the real world finally.

DiCaprio kicked ass. He was so good in this flick that I was literally saying to myself, "Do I actually like DiCaprio in this movie?!"

I don't think it's a stretch to say that Nolan is Hollywood's new Golden Boy.

Go see this movie (and buy the score). If anything it'll make you begin to salivate for another Batman flick in a very serious way.
 
Walter

Walter

Administrator
Staff member
Spoiler-free version:
The summer's most convoluted movie. It doesn't suck, but takes on too much for its own good.

Spoilers-ahoy version:
I really wanted to like this, being a Nolan fan. But like the characters grasping to their totems to solidify their hold on reality, I couldn't find anything worth liking to cling to. I may see it a second time to solidify my opinion, but here's how I felt after today.

So here was the big problem: Nolan created a very cerebral heist plot, but mixed it in with X-TREEM action sequences against a mindless, unlimited horde. To quote DiCaprio in the film, "In the real world we'd have to choose. But not here." As a result, the action sequences come off as generic, because there's no real function to them in the movie other than to space out the talking bits, and those cerebral bits, dealing with worlds-within-worlds, get tossed into the action sequences. But all that does is cast the hokiness of the plot in strong relief.

During one scene, as they gear up for a shoot-out against more mindless opponents, one character asks another, "how are you going to deal with the reconciliation?!" (referring to the father/son relationship). Seconds later, bullets are flying.

The completely arbitrary rules of these worlds doesn't help either. The architect can control the world, why can't they slow the flow of blood or mend wounds? It seemed to me that Saitoh's injuries could probably have been resolved with some more bullshit dream nonsense, but I know why that was there to begin with -- to create an artificial time limit for the heist. That's hokey.

To alleviate a lot of the tech talk and seemingly pointless action elements, the movie attempts to tie the audience to the story through a strong emotional attachment between the main character and his dead wife. This was a wise idea. However, this falls flat about halfway through the film, when we're angry at the wife for being crazy and frustrated at the husband for being such a pussy.

The whole thing also irks me because I had a very similar concept for a story about 5 years ago dealing with inducing a dream-like state as a way to rehabilitate over a long, long period of time. I wrote the first few chapters of it, never worked on it again. But now it's already been made into a feature film! Argh....!
 
Death May Die

Death May Die

Walter said:
The completely arbitrary rules of these worlds doesn't help either. The architect can control the world, why can't they slow the flow of blood or mend wounds? It seemed to me that Saitoh's injuries could probably have been resolved with some more bullshit dream nonsense, but I know why that was there to begin with -- to create an artificial time limit for the heist. That's hokey.
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There should be a balance in the matter of the architect abilities, that way the film isn't getting to carried away with "what if's." One person could say they did enough with the abilities of the architect, and didn't get too crazy with it. Another person can say they didn't do enough. Either way it really didn't over-do it with the physics of the dream world, and I rather it of been that way, then well, Matrix: Revolutions. I wonder myself, where are the dreams with flowers, or more so, the nightmares. I feel there was simply too much going on for Nolan to really get crazy with both the architect abilities. The action sequences although could of been better, but then again this isn't Terminator 2. I think Nolan put action second to the story plot. I guess every person will take that differently.


To alleviate a lot of the tech talk and seemingly pointless action elements, the movie attempts to tie the audience to the story through a strong emotional attachment between the main character and his dead wife. This was a wise idea. However, this falls flat about halfway through the film, when we're angry at the wife for being crazy and frustrated at the husband for being such a pussy.
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I can agree with this. It should of been more developed, as I feel so should the son/father relationship. I felt sorry for Cillain's character, but I had half a mind that he was just a by-product making him irrelevant. They should of made his character more relate-able that way it we actually cared that he came to piece with his father, even if it was in a false sense. But I feel both relationships (husband/wife and father/son) were passable for being story elements, they just were the weakest points compared to everything else.
 
Dar_Klink

Dar_Klink

Last Guardian when? - CyberKlink 20XX before dying
I'm feeling lazy, so I'll just say I mostly agree with Walter about the action sequences. :troll:

Was I the only one who really couldn't follow the whole going in and out of limbo thing? Or was that coherent and well-thought-out for everyone else?
 
T

Th3Branded0ne

I'll be back.
Dar Klink said:
Was I the only one who really couldn't follow the whole going in and out of limbo thing? Or was that coherent and well-thought-out for everyone else?
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They did explain that they could not wake up because they were sedated to go deeper. So, that they didn't know exactly how long it may take them to wake up. Didn't DiCaprio's character said it was 50 years for him and his wife.
 
Scorpio

Scorpio

Courtesy of Grail's doodling.
Walter said:
-his already (mostly) quoted post!-
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What a downer this is. I really don't understand your gripe with the mindless hordes... I thought they explained it well enough in the movie. The mind doesn't like foreign influences, prepared or trained minds create projections that remove said influences. By force. Their function in the movie was to both act as cannon fodder and hinder the efforts of the main characters, just like minions in any action movie I've ever seen in my whole life. It also showed just how capable and prepared the main characters actually were- they did this kind of a shit a lot. I'm sorry if the mooks didn't challenge them to a game of scrabble or something instead. However, it may have been cool if those projections could have altered the reality of the dream in certain ways, but as a whole I thought they proved an effective enough obstacle.

As for the architect not being able to mend wounds... it seemed like they could not influence people sharing in the dream at that level, nor could they influence projections (except for the one guy who could influence how he was perceived, but that's a bit different). They could build the world and change it if they really wanted to, though that would break the illusion of the dream and alert the dreamers projections to their presence so they never did. I had no complaints about that, and certainly didn't feel it was hokey.

I can kind of see why you feel that way about the relationship with his wife. Even still, I didn't hate her at any point in the movie. She felt completely and utterly betrayed, magnified by the intense guilt that Cobb felt... because, well, he was guilty. He did betray her, in a big way. So throughout the whole movie she was trying to drag him back so they could be together forever which is understandable, especially from a projection of these focused emotions. If anything, this made me really sympathetic for Cobb.

Aha! The truth comes out! You're just jealous that you didn't come out with it first! :troll:
 
Dar_Klink

Dar_Klink

Last Guardian when? - CyberKlink 20XX before dying
Th3Branded0ne said:
They did explain that they could not wake up because they were sedated to go deeper. So, that they didn't know exactly how long it may take them to wake up. Didn't DiCaprio's character said it was 50 years for him and his wife.
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What I was referring to though was Page's character and the son being able to come out of it easily through a kick... but they did it from inside limbo. Isn't the kick supposed to come from the layer before the one they're in? Not the one after? I don't understand why jumping off the building helped them go back to the previous layer. That whole last part was a bit confusing to me though, which maybe another watch would help with...
 
SrCraneo

SrCraneo

Dar Klink said:
What I was referring to though was Page's character and the son being able to come out of it easily through a kick... but they did it from inside limbo. Isn't the kick supposed to come from the layer before the one they're in? Not the one after? I don't understand why jumping off the building helped them go back to the previous layer. That whole last part was a bit confusing to me though, which maybe another watch would help with...
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Quote from the digg comments. - http://digg.com/movies/The_5_Levels_Of_Inception_Infographic?t=33897241#c33898577
The way i see it, you can only pass between levels by dieing (you go to whichever level was above the one you died in), being kicked from the level above you (you get pulled up a level by the kick) or by going into another nested dream (you go down a level). If you die in level 3, 4 or 5, you just go up a level, not into limbo - this is what happens when Fischer and Ariadne die in level 5 from falling (they wake up in level 4). You only go into limbo when you die in level 2 but cannot wake up in reality because you are sedated

Level 1 - Reality
"Level 1.5" - Limbo - this is what happens when you die in level 2 but are sedated in level 1 and thus cannot wake up. Saiko and Cobb end up here because Saiko eventually dies in level 2 towards the end (from the shot in the chest) and Cobb eventually dies in level 2 because he drowns in the van. This cancels out all the dream levels below level 2 (since they were all nested figments of level 2 Cobb's imagination) and sends him to limbo, level 1.5
Level 2 - Dream - City/Chase/Van; all characters
Level 3 - Dream - Hotel; all characters except Yusuf
Level 4 - Dream - Snow Fortress; all characters except Yusuf and Arthur
Level 5 - Dream - Only Cobb, Fischer and Ariadne. This level is NOT limbo, due to the way they entered and left it. Cobb and Ariadne entered this by going into a dream from level 4. Fischer and Ariadne leave this level by dieing (falling off building) which pulls them up to level 4, while Cobb leaves level 5 when his body dies in level 2, thus bringing him into limbo.
 
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