Inception

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re yoda

[spoilers="inception"]Just how real is the "real" world he inhabits ? Dicaprio appears from country to country assembling his team, Saito can do whatever he wants, agents chase Dicaprio in the real world just as the subconscious chases him in the dreams.

I really hadn't put it together that his memory of the children would include them being their current age, but in all of his other memories on the elevator - they are pretty much time capsule moments. On top of that, the kids are still doing the exact same thing, in the same spot, mirroring his memory of them.

On your question of how long he's been away, it's only like 2 years.[/spoilers]
 
Go into the theater execting a cerebral film that dishes heavy helpings of the human condition and you wont be disappointed. The visuals there make this heavy film that much more amazing to take in.

All I have to say is that I don
 
On the contrary, I think it was quite deliberate, Fischer is the spoilt, hard-nosed corporate type who undergoes an emotional re-evaluation of his life thanks to the inception.

I agree that in some ways it's a problem that he gets more emotional scenes than any of the team members, there's never anything really at stake for them, they won't die if they're shot by any of the terrible shots Fischer has defending his subconscious, they're doing it for money or curiosity or a mixture of the two. But then again, he is the inception target, his emotional turn around is a vital part of the whole concept. And that he gets a happy ending, even though what they're doing to him is wrong could be seen as either suspect or nicely morally ambiguous.
 
My problem with the shooting in the snow fortress was that I couldn't make out what was going on... who was shooting whom...

It was just too damn difficult to make out what's happening there..
Actually now it makes me wonder.. why did Nolan/Eames/Ariadne pick a snow fortress? what was it's significance??..
 
I rooted for Cobb the whole time. I chalk that up to Leo's performance and especially the scene where she jumps.

As to Fischer, I really enjoyed his transformation. I even wanted him to say something to Cobb in the airport like, "Hey, Thanks!"

Of course, that would not have been a good idea.
 
All I can say is that not everyone watches movies the way you do...
You are surely looking for philosophies in every movie you see..

If Nolan has made the movie the way it is, it's mainly coz he wants it to be successfull... And he has done a great job with it... Almost everyone loves the film, So Nolan wins.. I think Nolan knows a lot about filmmaking to know how make a movie work...

Ofcourse you can't compare 2 films.. Maybe you can, but most of us can't.

Can you compare Casablanca with The Octagon???
They are meant for 2 different target audiences..
I don't think the makers of The Octagon had any intention of winning oscars...

About DK, Nolan had tons of comics & previous movies to learn from...
That's what made DK stand out.. You can't mention theories and philosophies as adaptations.. ultimately the plot matters..
 
I don't know why everyone is rooting for film. I can't simply get it. It is so boring that i literally fell asleep in a 3D cinema while watching it. The character, the storyline and the characterization bored me to sleep.

Movie should be fun, entertaining and interesting. It should not be like a puzzle that viewer should decipher, if that would be the case i would rather buy a newspaper and try figuring out suduko and crossword puzzle.
 
Do you mean when elderly Saito is in limbo spinning the top, like when he's sitting across the table from Cobb in the beginning and again in the end of the movie? It does not stop spinning here, because this is a dream. When they first start talking, Saito spins it just because he remembers the top. After he and Cobb start realizing it's a dream, Cobb stares at the top and it is still spinning. This is a long time after Saito spun it, and it's perfectly upright. Thursday Next, the spinning top does not mean reality, it means just the opposite.

But something I did find strange was that in the several times I've seen the movie now, I've never heard anyone say that if the top stops spinning, you're not dreaming. When Arthur is explaining the properties of the totem to Ariadne, he says it only proves that you aren't in someone else's dream. But what about being in your own dream? So let's say Cobb's top did stop spinning in the end... this would prove that he's not in someone else's dream, but couldn't that mean he's in his own dream?



I never thought of this, that's a great point.
 
Seeing this again tomorrow afternoon, and I've got a small mental list of things to look out for. How marvelous is it that I feel the need to do that?
 
Genesis Pig: That's taking it a little too far. Everything anyone says is their personal view. Even mathematics, for instance. It's most people's personal view that mathematics represents a viable system for calculating reality. Alain Badiou would go further in his personal view that mathematics is actually the ontology of existence. Some people might derive a personal view that mathematics is invalid, and for some things it is. I don't mean to get all postmodernist on you (really it is you going dat on me), but complete relativism doesn't rationalize everything. Hitler had his own personal view, dontcha know.

Is this a discussion forum or what? The text's the thing that will reveal the veracity of your personal view, as Shakespeare would say. These thumbs are just a gimmick.
 
Yeah, most of that's really, really obvious. And some of it's wrong; like #15. You need a kick to move up a level, not drop down one.

Anyway, nice review TUS. Really glad you dug it.
 
I still owe a few people replies earlier, so apologies for that. Just replying to what I can remember is out there at the moment. I'll catch up, though, I promise.


Zuh? Backwards? I don't follow.

Concerning my favorite scenes, though: I really like Ariadne's training program, and I really like Cobb's Mr. Charles routine. Obviously the hotel scenes were the most inventive and fun, though. I think they have to be among just about everyone's favorite scenes. It's one thing to have cool, Matrix-y style fights, but it's another thing to actually have a logical reason for the bizarre nature of the fight. Really dug that. A lot.



No, he had it with him, and deliberately spun it on the table. He did the same thing three times earlier in the film, two of those times right after he'd woken up, to make sure he was in reality, and the third time while he was holding a gun, ready to shoot himself if the top didn't stop (this was right before he was on the phone with his children, early in the film).

Anyway, in the final scene he comes in, spins the top, but then sees his children's faces and walks away before seeing what happens to it. The top wobbling was the very last thing we see/hear; we don't see it correct itself again, which is one of several reasons I think the ending is reality.


Same here, though probably because I saw Shutter Island just a couple of weeks beforehand. I think someone said this already, but that'd be a heck of a double-bill.


I dunno if this jibes with what Nolan has been saying about the film, though. He's repeatedly emphasized that it took forever because he couldn't find an emotional core to connect to, and he says DiCaprio found it. The film certainly works on many levels, but I don't think Cobb is just some excuse to drag us into it all; he's pretty clearly integral for Nolan.
 
exactly!

and thanks for posting that interview with Dileep Rao Yoda. It reminded me that the part where Cobb squeezed through that tiny gap was the bit that had my heart beating faster, cos I have nightmares about being trapped in caves and having to squeeze out. Nice touch that. Now if they would've had a bit where his teeth crumbled away that would've had me in pieces!

I agree[spoilers="spoilers"] that the end is reality. The top did wobble and I don't like the age old ending 'it was all a dream'. Surely Nolan wouldn't do that! it's just a tease.[/spoilers]

by the way isn't it nice to have a film that has meat enough for a proper discussion!
 
Vicky, Meats and Fischel have hit the nail on the head. Also, some of you guys have to remember that it Cobb has trained Fischer and people like him to use his subconcious as a defense mechanism, but he probably made sure that there are limits to these defenses, to protect his investments, if you will. I think it's an astounding film. Very powerful three dimensional plotting/thinking.
 
Finally got my review done. Pretty hard to put this one into words, particularly given that I wanted to describe as little of the plot as possible.
 
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