Inception

Inception pretends to be super clever. Through astonishment over the hitherto unseen, it gives the audience a consumerist, comfortable feeling that everything in the movie makes perfect sense. If it had contained any real emotion and some sort of message, drawn its sense of fatefulness and urgency from the story instead of from Hans Zimmer’s awesome, robust music, and enabled me to connect with the characters instead of leaving me in awe of their magical dialogue, I might have succumbed to the tempting feeling of perfection and awe of an extraordinary filmmaking event. But there is no more of these key cinematic values in this film than there is life in the image of monotonous grey skyscrapers in the background of Cobb and Mal’s fifty-year-long dream. Inception thus remains “just” an incredibly spectacular Matrix-like pose. (22.07.2010)

Inception is an incredibly precise film with a cold and detached perfection that reminded me of the Kubrick’s best (more than the oft-mention The Matrix) – that’s how The Killing would look if it was blended with 2001: A Space Odyssey. The way the script works with so many dream levels would be lethal for about 99% of today’s directors and screenwriters, but Nolan no longer needs to prove anything to anyone. This is a class on its own. Thanks to his mastery, the complex plot is easy to understand, at least at the most basic level. After watching it, I couldn’t sleep trying to find inconsistencies. There are films that don’t have an interpretation and will never make sense, no matter how hard the viewer tries, but I think the opposite applies to Inception. There will be several interpretations and all of them could be correct, though I believe it’s pointless to theorise too much, the true interpretation will be the simplest one, and the details (will it fall or not, and why) will remain up to each viewer. Either way, I must watch it again. I can’t tell which place (in terms of quality) Inception takes in Nolan’s filmography, but I liked it a lot more than the over-hyped and straightforward (though also great) The Dark Night. PS: Does it make any sense to talk about how great the performances of the entire cast are? (my favourite were Joseph Gordon-Levitt and Cillian Murphy). Edit: So, for the second time, a truly wonderful experience. The film is full of emotions, but you don’t have a chance to get them the first time (because you don’t know the twist) – Nolan’s rule of repeated viewings still applies. (23.07.2010)

We wish to make our dreams come true. We can't really materialize them unless we use film technology to do so. Inception is a perfect example of when dreams become reality and we can escape from reality into a dream. Unfortunately, we perceive it as exactly the opposite of the characters in the film. Two and a half hours go by like only a few minutes. (25.07.2010)

I'm honestly glad for that light doubter prickle I went to see the film with. The beginning is undoubtedly a great, complex and ambitious work, but from my point of view it did not overcome Nolan's two previous masterpieces. Unlike The Prestige, it is strictly linear and lacks the great narrative finesse that will make me feel good even after watching it many times, and unlike The Dark Knight, it lacks that monumental fatefulness. The idea is brilliant, but the script says everything important from the very beginning, explains too much, and surprises too little. Jonathan would definitely help. And the other thing - DiCaprio plays exactly the same character as in Scorsese's Shutter Island. In exactly the same way. Regardless, these two things pulled me out of the sweet dizziness that so many people had succumbed to. (23.07.2010)

Nolan has failed in the most difficult cinematic discipline of filming “the reality of a dream" (although it is true that I always imagined lucid dreaming like this); Eternal Sunshine of the Spotless Mind thus remains the only film that has succeeded at it. Nolan's dreaming is deprived of randomness, surprise, absurdity, and surrealism, and, thanks to its coldness, depersonalization, and pragmatism, it is more interchangeable with virtual reality. Which is not a criticism, just a statement. From the beginning, a complex, detailed, multilayered world is created, where a simple but not stupid plot unfolds (a classic heist movie format about a cunning plan where everyone has a fixed role). Moreover, it is perfectly crafted; it is admirable how well he works here with five (or even six?) scenarios at the same time. What I really applaud Nolan for is the final shot lasting several seconds, which in its simplicity is more perfect (and timelessly Blade Runner-like) than the best shocking punchline. And the best part is, it's built to work the same way for both theories. P.S.: I only realized after multiple viewings that for me the most attractive thing about it is Cobb's personal catharsis through the form of Mal aka the materialization of an un-self-acknowledged act that haunts Cobb and does not leave him in peace (although it may be otherwise, but for me the magic of Inception lies precisely and only in this interpretation, so thank you in advance for not taking away my illusions, however captivating and viable the “movie illusions" are). (22.07.2010)

A perfect delight for Nolan's pleasure. What this directorial master has most enjoyed in his films, he enjoys to the very last second in Inception. Whether it's the main character full of internal conflicts in an environment much larger than himself, ambiguous conclusions, or, not least, several plot lines alternating at the center of the action (this delight, so proven in The Dark Knight, is taken to the furthest possible maximum here). In short, we are getting all the tricks that have ever made us shake our heads - in one impressive package that wraps around you so tightly from the first few minutes that there is nothing else to do but hungrily follow the fateful story threads. And when Leonardo DiCaprio finishes his acting megaperformance and Hans Zimmer finishes the music, it is clear. A new movie life-changer has arrived. (23.07.2010)

Christopher Nolan really nails it! Fantastic direction, perfect music. A film that surely messes with everyone's head. Even in the cinema you could tell how excited everyone was and how would love to see it again. Therefore, I join the opinion that this film is a drug and deserves the highest rating. A full 100% and more. (04.12.2010)

It's a good movie, but it has its flaws. I think the most annoying thing was the frantic camera work, where at times I wasn't sure what it was actually trying to show me... When I walked out of the cinema from Nolan's previous film, The Dark Knight, I had a very different feeling. A sense of fulfilment, a feeling that I had really seen something. Unfortunately, that feeling didn't come this time. Yes, I could discuss this film for hours and hours (and during that time, I'd incorporate my knowledge of Murakami's book “Hard-Boiled Wonderland and the End of the World", which would certainly be nice), but to have to watch it again because of that? Nope. Yes, totally interesting idea, good story, but I have no idea what I'm taking away, if anything. Just the knowledge that I've seen a good movie. And I certainly don't consider it the movie of the year. Still, definitely check it out, because it's worth at least one viewing – preferably at the cinema (even the home one :-)). (24.08.2010)

The beginning could best be characterized as a combination of Cronenberg's eXistenZ and the Wachowski brothers' The Matrix. A magnificent high-budget summer blockbuster that is surprisingly smart and multi-layered for its category. Of course, like The Matrix, it can be criticized for its gratuitous action scenes, the shallow plot in relation to the promising premise, and a number of other shortcomings, such as the underutilization of the "defensive dream team" built into Cillian Murphy's character's brain. If he were endowed with intelligence and not just serving as an action element that fills the screen with a series of bullets and dead bodies, there would be a truly thrilling battle. On the other hand, given the nature of the film market and the producer's expectations, it is clear that these limitations are entirely logical and that Nolan could not have bypassed them. In fact, I can't recall any blockbuster that required the viewer to strain their brain so much. Strictly speaking, the script does contain some logical errors, but they can be brilliantly explained by the fact that the story takes place in a dream. Furthermore, the very clever final scene and the view of the moving object on the table clearly indicate how things actually are and whose head the story is unfolding in. Nolan's film offers top-notch cinematography, bombastic special effects, and a gripping dramatic plot without compromising on the high demands for other film elements. It also has an excellent cast led by one of the best contemporary American actors, DiCaprio. For me, it's the strongest film experience of this year after Scorsese's Shutter Island. Overall impression: 95. (09.08.2010)

And the top keeps spinning... Inception is like, erm, an apricot, perhaps. So many layers, sweet, so rich (in ideas, not in vitamins) and holds together beautifully. I should be economical with the word original, because the “only" unique thing is the combination of all ingredients into a whole that works like clockwork, surprises, innovates and, most importantly, is entertaining without losing any of its cleverness. But there’s no denying that we’ve already seen movies about dreams and really high quality ones. But in the places where The Matrix, for instance, lost its viewers in its complexity, Inception swims along smoothly, and avoids copying it at all. Nolan sticks firmly to the story within clear limits, doesn’t lose control over the world invented for the story and never breaks its rules. Everything works on a strictly logical level and the dreams are depicted accordingly. It doesn’t forget about physics, the manipulation of which creates scenes that you could never imagine in your wildest dreams. You see, dreams usually try to cling to reality and so most of the action reminds me more of Heat than Speed Racer, which suits me. Damn, I wanted to avoid comparison with other movies. Too bad. The main essence of the story, Cobb’s story where we gradually find out what happened (to him) in the past and why he is in the situation he is, is very original. I thought I knew the answer, but in the end it turned out to be slightly different (but I was close, seriously) and better in the overall context. In fact I’ve been doing a lot of thinking about that and about inception, about its potential and how Nolan handled it with such genius, but also so simply. You see, it wasn’t so much about dreams, but about memories, decisions and guilt. A simple story in a maze of dreamlike realities. The cast, headed by DiCaprio who simply must win an Oscar this year, fit their roles perfectly and everybody is given a chance literally to shine. The action scenes are a feast for the eyes, which makes me even more annoyed that the Czech distributors weren’t able to buy even one copy for the IMAX, because the fight in the lobby throws your guts about even in 2D. Quite possibly movie of the year. Cameron played the emotional card last year, this year Nolan gives us reason. I am impressed. (26.07.2010)

Fairly complicated and difficult to read in detail at first glance. And yet, but it has plenty of relatively standard eye-candy aspects. The Oscar for the screenplay and camera is almost certain, possibly also for the production design. DiCaprio is excellent as usual, Zimmer is mesmerizing, and the film has some unprecedented technical finesse and energy – Nolan is perhaps the most sophisticated director in contemporary Hollywood. Unfortunately, he can't shoot action scenes, which significantly detracts from the drive of the action sci-fi. It was so obvious that it's actually the main negative aspect of an otherwise very interesting piece. Definitely a must-see with multiple screenings. (25.07.2010)

I won't beat around the bush (excuse the caps lock): INCEPTION IS ONE OF THE BEST FILMS I'VE EVER SEEN. There. An incredibly original idea that seems to have come from a P. K. Dick book. Nolan's direction, Zimmer's monumentally chilling music, superbly written characters, all in all excellent and likeable actors... These are all reasons why I left the movie theatre speechless and silent, and why everything I saw is still going through my mind now and will be for a long time. Inception is riveting - for the first half hour or so I didn't know what was happening on screen, but Nolan is a master storyteller. He gradually reveals more and more details, one thing fits into another, another into another... Then the finale comes. I'm sitting glued to my seat, staring with my mouth open, tensed up and at the end I'd like to exhale. But I can't. Great stuff, I applaud it. I know I'll go watch it again and I'm putting Inception in my TOP films right now. Yeah, and I still hope I wasn't dreaming.___P.S. Don't be surprised that you didn't learn anything about the plot from my comment - it's definitely better to be surprised. Where's The Dark Knight? Six stars! (If I could) (23.07.2010)

Damn, Nolan did it again. I have no idea how Inception, with its brilliant, almost dreamlike idea, would have turned out if a completely different crew had taken it on. What I am certain of, however, is that only by virtue of this successful construction, Nolan's amazing direction, the characters of DiCaprio, Hardy, Levitt, and Ellen Page, and Zimmer's otherworldly score, could an utterly unique and unrepeatable cinematic experience have been created that my limited vocabulary could never describe – visually arresting, timeless in content, and at the same time supremely cohesive and complex.... The best sci-fi of the century! (03.03.2013)

Christopher Nolan proved with this that he can once again direct a spectacle that is not only high-budget but also has a message. It is a blockbuster, but in the best sense of the word. Moreover, he can afford great actors, which was definitely confirmed in this case. Leo once again proved that he can carry the whole film. I can't help it, but for me, Nolan's films are simply among the best that we get for such money. (11.02.2014)

Inception is far from being a mere near-perfectly made sci-fi film (though it would have been richly content with that status as well). Cobb's personal storyline gives it a fatalistic quality, presenting the entire film as a tale of ill-fated love against a sci-fi backdrop. I certainly don't mean that the love storyline overshadows the extraordinary idea of dreams within dreams, but rather to point out how original this film is, how elaborate it is, how well layered it is, and how it is Cobb's inner struggle with himself that gives it its power and urgency. The cast probably couldn't be better, Nolan sticks with actors he's tried and tested and is comfortable working with + adds actors I like a lot (I don't know how he does it, but it's like that in every movie.) I consider Hans Zimmer to be the "successor" to John Williams, as the most original and probably the best film music composer of our time. There is probably no point in singling out individually the meticulous script, the impeccable directing... As with The Matrix, I find myself trying to dig deeper with each viewing, but there are many connections that will probably remain forever hidden from me. It's certainly not because there's anything incomprehensible about Inception, but rather the fact that you can't just focus on one particular thing while watching it (I've tried several times) and try to connect it to the others, because the magic of this film is in the layering, the layering of new storylines on top of each other, with more and more details being added all the time. So if you want to focus ONLY on one thing in the entire film, hoping to understand its significance in the context of the rest of the plot at the end, you'll probably be disappointed. But that's probably the main point – if Nolan thematizes dreaming as the creation of artificial worlds where one's own creativity and ideas are completely unlimited, then it's mostly up to one's own interpretation, one's own imagination, and one's own ability to somehow make sense of what's left open to us. (07.08.2011)

For me personally, Inception is the most perfect movie experience that the film industry can provide. Nolan achieved something that no one had ever achieved before, namely that we can see something we can't even imagine, except in a dream, and probably not even there. In other works of sci-fi or fantasy, we can always at least partially picture the particular setting or atmosphere - when reading a book, for instance, or whichever way a story is mediated. But if someone is trying to explain Inception to you - that is, what exactly it is about, it is virtually impossible to describe a world in which things don’t work the way they normally should. No one can even begin to describe how you fall asleep and then fall asleep again in that dream and then fall asleep in that dream, too... It is simply beyond words. You just have to see it. Which is where Nolan comes in with his ability to transfer all of the above onto the movie screen in such an incredibly intelligible way that you can enjoy the most amazing gem of a movie of all time. However, Nolan is not just about perfect visualization and Zimmer’s brilliant soundtrack. On top of all that, it’s a story which any other director would turn into a confusing mess in which you would probably get lost in less than an hour. The production design is simply magnificent and used to the utmost detail. The actors perform as if their lives depended on it. Especially DiCaprio is, hands down, the best of the best. The two and a half hours of the movie feel damn too short, because you just can’t get enough and savor every second of it. A movie you never even dreamed of, but Christopher Nolan managed to make that dream come true. A movie that makes you think, no matter what you think about it. Inception is simply a film revolution! (06.01.2014)