I went to see the mind bending Inception the other night and came away with the same feeling I had after seeing The Matrix back in 1999. Inception is bold and exciting, and has an intensity only exasperated by Hans Zimmer’s unremitting score which seemed to be going full tilt for the entire duration of the film. The soundtrack is every bit as obnoxious as DiCaprio’s other 2010 film Shutter Island, and I love it.
When we left the cinema my girlfriend pointed out how it reminded her of Psychonauts which I hadn’t considered until she’d made the connection. It’s especially impressive considering she got horrendously stuck in 
Milla Vodello’s cranium disco and has never played it since. What a shame. The thing is, just like The Matrix, Inception has certain similarities with videogames: both revolve around intangible virtual spaces, otherwise known as ‘levels’. These levels are psychological constructs shaped by somebody’s mind and if you’ve played Psychonauts before you’ll know how familiar this concept sounds. Inception is of course an entirely different beast to Double Fine’s classic and focuses more on the uses and abuses of entering another person’s mind.
Now it has to be said that I must be much clevererer than I think I am or the rest of the world is sleeping on the job because there seems to be an awful lot of fuss being made about how difficult Inception is to understand. It’s certainly a maze to traverse but the overarching storyline is fairly straightforward providing you pay attention. If anything, it’s some of the peripheral stuff that’s difficult to get your head around; some ideas conflict with others making certain segments of the film seem implausible or questionable at best. But hey, Inception is a heist film set in a dream world so the whole shebang is built on wobbly, capricious foundations.
My biggest problem with Inception is its over-reliance on action to pad out various sequences. I get the distinct impression that Christopher Nolan (or some business suit) added these to give the knuckleheads something to chew on. The ideas in Inception are fascinating but to see the film occasionally turn its attention to tedious shootouts – shootouts with bad guys who can’t aim for shit – is a real shame. There are certain instances where the action is justified and many of the sequences look stunning, but when hundreds of bullets are fired at the protagonists only for one or two to hit their mark it really cheapens the experience and totally undermines the threat of the enemies. It’s a good job then, that we’ve got Hans Zimmer heavily ladling on the bombast.
Another minor issue I have is the way in which Inception‘s dream spaces are very realistic and ‘normal’ and in truth real ones are quite the contrary. At least mine are. For the most part the dreams are rigidly controlled for plot centric reasons, so steering clear of bizarro-sexy-booby-land or crumbling teeth is fine, but on a number of occasions I reckon the film could have afforded to indulge in its central premise a little more. I mean, I would have killed for a chase sequence involving DiCaprio and Levitt silently peddling through the sky as if seated on invisible unicycles, frantically trying to escape their pursuers; with some shambolic brass strewn across the scene it could have been epic. You can have that one for free Mr Nolan.
Anyway, I’m not a film critic so your mileage may vary but go see, I’ve never witnessed anything quite like it.
EDIT: There was no tag for Psychonauts – Schafer heresy!
Email the author of this post at greggb@tap-repeatedly.com
Ya, I would like to go see this, but I haven’t been to the cinema since the little Harbour Master was born 2 years ago. One of these days, I’d like to spend some time in a darkened chamber with a dazzling, flickery light beaming into my eyes again. Good times.
My girlfriend works at the cinema so we get free films and discounted concessions bringing the price down to just-short-of-extortionate. We try to go on less busy days because people can be so obnoxious with their food. Seriously, don’t get me started on the noisome munchers. Go to a fucking restaurant if your hungry, it’s better value and you won’t get disturbed by the film. Sometimes it’s like your sitting in a forest of crinkling packets and crunching snacks. Drives me insane.
At two years old your little ‘un will be a while before entering an auditorium. By the time he/she grows up 3D UberHD TVs might be the norm so the cinema will merely be a trip out rather than a luxury!
I saw it over the weekend and thought it was excellent.
I agree the that villains can’t shoot for shit, but, then again it was a dream world. It’s pretty rare to get shot in a dream, no? (Well, I did once. Brad Pitt shot me. He shot me right in the throat and I died. It sucked. But, I believe I had it coming. I had wronged him some how and he was seeking vengeance upon me. Curse you, Brad Pitt.)
The dream worlds were very structed, but that was on purpose. It seemed like between the chemicals they used and that machine they were hooked up to, allowed the Architect to create a very structured dream world, if they chose to. Since the plan on these missions was either “extraction” or “inception”, I imagine it helps those trying to pull off the heist to tone done the random, crazy-ass dream stuff that goes on and grounds things a little more in order to help ensure things run smoothly.
Yeah I agree ajax. It was the limbo/subconscious bits that I were referring to. I understood that the levels were structured and designed by the architect so that made sense and kept the world looking orderly and normal, but the film seemed to imply that limbo was just a plain of pure, wild sub-conscience. This was where I’d like to have seen more bizarro-sexy-booby-land madness and nightmares rather than just some crumbly skyscrapers. Something like David Lynch’s Eraserhead. I mean, it looked great but it didn’t live up to the foreboding build up. Nevertheless, it was still brilliant.
I haven’t seen this yet but I happened to watch Last Year At Marienbad a few weeks back. It’s a French New Wave film by Alain Resnais made in the early 60s. I had read how impenetrable it was but it made complete sense to me. But you have to pay attention and it drags a lot…i.e. no shoot-outs for the kiddies. A few days later I read an interview with Nolan and he mentioned how his friends were teasing him a lot about Inception being a remake of Last Year At Marienbad. He had never seen it so he watched it and remarked that he had been influenced, not by Last Year, but by other director’s copies of Last Year. So I can’t wait to see Inception and see for myself this copy of a copy.
Very interesting Scout, I shall add it to our film list! By the way, Shutter Island is well worth a look if you get a chance to see it.
I did see Shutter Island. I had read the book a while back and forgotten the plot and then remembered the ending about half the way through the film but I still liked it a lot even without the twist.
God, I remember Last Year at Marienbad from film school. I was not a great lover of the French New Wave, but I did enjoy that one. Complex, definitely, but “impenetrable” is a little harsh.
So Gregg, you say your girlfriend got stuck in Milla’s disco. Was this a matter of getting stuck on the obnoxious make-the-rings-spin puzzle, or a haunted-by-the-imagery getting stuck?
I ask because I went away from Psychonauts for a couple of weeks after finding a certain memory… a little slice of horror called “Milla’s Children.” It haunts me to this day, and it took a while before I came back to the game. I never looked at Milla Vodello the same way again.
Crap, I need to go to platformer boot camp and learn how to grind through the frustrating parts. I got stuck early on in Psychonauts which is sad cause I loved what I saw of the game. I think I lost my save though. It was some basic jumping, falling, climbing part… with fire and ladders and…ah well.
Glad I’m not the only who found Last Year at Marienbad enjoyable. I almost dread mentioning it. Some people just loathe the thing, I guess. My favorite line was when the two guys were playing that weird game that the one guy always, always wins. The first guy says, “Do you ever lose?” The second guy says, “I can lose. But I never do.” At the time I remember thinking that was a pretty nifty premonition of video gaming from 1963.. It’s also a clue to the movie, I think.
I’m glad you ask actually Matt because Hailey got stuck with the platforming on that section and incidentally didn’t see the bit you mention, which, for the record, is one of the most memorable bits of the game and ties most neatly in with some of Inception’s more interesting concepts for example one particular character’s ‘skeletons in the closet’ manifested as a building with different memories on each level.
I seem to recall that part of the Milla Vodello level being really high up and ‘quiet’ as if it was tucked away in a far part of her mind, hidden away. Was the music quieter or something? Psychonauts was incredible, it’s just a shame that the platforming could be so unforgiving and I’m not talking about some of the early parts of the game, they were piss easy compared to the last two main sections. I nearly blew a vein during those parts. And that’s coming from somebody who has never really had problems with platforming, in 2D or 3D.
WARNING – ALLEGORICAL SPOILERS
I read a review by a critic who read a review which put the whole movie (I’m back to talking about Inception) in a new light for him and me. He says it’s not about dreams and millionaires, it’s actually about the movie-making process. Leo is the director, Ariadne is the writer, Mal is Leo’s muse, Saito is the producer, Ciaran Hinds (can’t remember his character’s name) is the audience, and Leo’s quest to see his kids is an effort to complete his work of art, etc. etc. Now I have to go see it again with this in mind, because it really does seem to fit absolutely perfectly. This view is bolstered by the fact that Leo let slip in an interview that this movie was most like the movie 8 1/2, which is itself a dreamy little movie about making movies…
Blimey kthugha, that seems a bit far out! When I watch it again I’ll bear that in mind. It’s Cillian Murphy by the way
I’ve gotta see this movie. It’s layers within layers!
I got to see Inception today. Yeah, that soundtrack was heavy on the bombast.
I didn’t get every last bit of plot…this was only a first viewing and it will take a few but my first impression was it was about how stories are made. Dreams being equivalent to stories here and all the rest being the difficulty of 1. suspending belief to the point where the story/dream becomes as compelling to your audience as so-called reality…called inception in this film and 2. the dangerous process (for the author) of returning from the dream once you have made it believable. Or if you can ever return to the normal concerns of everyday life.
I disagree with you gregg on some points. Possible spoiler!
Although the grunts aren’t accurate, we aren’t informed of how much mind defence training our guy has had and at what level. One would assume the more adept your training, the deadlier your minds defences are. Furthermore, during the third dream layer, he has acknowledged he is dreaming, and under attack.
I would say the panic this causes, due to the other factors (finding the safe) made him pay little attention to him defending himself; it went out the window.
Finally, although the settings were real it was predominantly as a result of the architect. If she had wanted a mind trip (standard for you and I) she could have, but it wouldn’t have made the inception as easy, or the kicks easy either.
On the limbo front, I had the distinct impression this was all shared, with DiCaprio and his good lady the first there, and the first to build on it. Subsequently, it was all aged and crumbling on their return as they hadn’t been around to maintain it…
Bah! For the sake of the lopsided action sequences Fischer’s training should have been a LOT better. Why have training at all if your infinite supply of mental marines are totally inept?
As I mentioned I was aware that the architect was holding shit together but when the film built limbo up to be this totally unhinged place I felt disappointed that it didn’t capitalise on the very things that commonly populate our dreams. It was nice to see Ariadne use a fall as a kick for example, that feeling is something we can all relate to.
I’d have liked harder marines- with some cast killed off. But again, it does depend on his training. Perhaps it got weaker the more layers they went down?
As for limbo, well I assume it was at first nothing- just empty space. Which was then constructed by Leo and his missus..
I see your argument though, lord I have some mad dreams. Although for me, I imagine Limbo to be like when your asleep. Not black, no nothing- no conscience.
Oh and what about the spinning top ending. Real, or dream?;o)
Dream, obviously. Leo didn’t age a day and Ken Watanabe aged, well, ages. Obviously all of it a dream!!!
It’s all explained here plus a nice metaphysical discussion on the nature of anticipation and pain. Good stuff!
Definitely an in depth exploration of pain.
I’m sorry scout. His arguments are a bit simplistic for someone like you but there’s no arguing that once the opening chords of his argument are out there, you know exactly where he’s going with it.
Don’t get me wrong, Helmut. I love me some pain. And the directness of his argument is indeed jaw-dropping.
Rick-rolled! You fucking bastards!
I finally saw Inception. I don’t want to think or talk too much about it because right now it’s time for bed. But yeah, an excellently scrumptious film.
I found the first 15-20 minutes intensely confusing, simply because I had no rules or expectations set, but afterwards I followed it pretty well.
The Zimmer score was all-at-once maddening and awesomely appropriate.
There really could be infinite themes pulled out from this one, and like I said I don’t want to think too hard right now. I’ll buy the Blu-Ray and watch it six or ten more times. For now I’ll leave it alone and let it be the highly entertaining film that it is.
I finally saw this tonight. It was super cool. I doubt anyone cares at this point, but I’m excited so I’m sharing. As for my thought on what happened at some of these scenes Gregg mentions, here’s what I think. Spoilers fer sure!
The grunts were as good as professional training can get a millionaire I think. Which is good quality, but not as good as the actual professionals. Leo and his crew are the best at what they do, and no matter how good rich boys “training,” they are better. Now that doesn’t exactly explain their bad aim, but it just wouldn’t have been much of a movie if Leo got caped 5 minutes into the dream bit. ( :
As for Limbo, we saw two different Limbo’s, both created by different people. The Limbo that Leo and his wife built was the one they constructed “in the sand” of the beach of their sub-conscience. He’d left it when he left the dream the first time via train. When he comes back, it’s all falling apart from lack of maintenance just like a sand castle getting hit by water.
The other “limbo” is the rich Japanese businessman’s who hires them. When Leo winds up on the shore in the beginning of the movie, he’s showing up on the shores of that guys sub-conscience. Since that guy was old in that scene, we can assume he’d been their for a VERY long time, and had crafted it all to his liking. This likely happened between the time he dies, and the time it takes Leo to get to him. Seconds of our time, ages in theirs.
The only time we saw an “undeveloped” Limbo was when Leo and wife first wind up on the shores of the beach. And even there, it may have simply been the creation of their minds. What better way to signify a fresh creation opportunity then to provide a big clean beach full of sand to build with.
Maybe you picked up on all that and still weren’t convinced. Maybe I’m wrong and just didn’t get it myself. Just my thoughts on it though.
I wish they showed the top fall at the end. I hate that sort of maybe, maybe-not ending.
Your explanation of limbo makes perfect sense Armand
I actually liked the ambiguous ending but I don’t quite see the point in discussing whether it was real or not because, well, we don’t know!
I think since watching it and talking to various folks it’s become clear that I may very well have to watch it again because although I understood most of the film there are certain details that I may have missed or misinterpreted.