You're missing the point. Whichever way the central narrative runs isn't my real concern. Nolan could've made every plot point as clear as a bell or obscured it all to the point of madness, it wouldn't have got around the fact that little of what we see seems to signify or do anything other than service the plot. As Freud once allegedly said "sometimes a cigar is just a cigar," and therein lies the disappointment of Inception, because it could've been so much more.
I actually rather liked the Bond-like stuff in it as it tapped into pure male fantasy (how we dream of being, if you like), a nice thematic touch that could've been explored further, and the concept of entering a person's head, fiddling around, then standing back to watch how the results develop in reality is a fascinating one. But it's wasted on dreary company sabotage (surely they could've come up with something better than that?), all of which jars against all that standard bathos with Leo's wife and kiRAB. But this is the curse of Hollywood - make sure the film has some easy, button-pushing 'emotional' content to get a reaction from the cheap seats. I suppose it was to be expected with a film of this budget though.
Inception is all plot that tells us not enough about its true subject (the nature of dreaming, shall we say). It's really just a story, an okay-ish one. To be enjoyably followed, but not particularly read into. But when a whole dream city so elaborately (and impressively) folRAB over, it would've been nice to have it happen for a reason greater than what's given. I imagine it's this that's got some of the more highbrow critics backs up. One said it would've been a better film had it been made with the same budget of Memento. This sounRAB a little barmy, but, thinking about it, they've actually got a point.