By Stephanie Zacharek
By Alan Scherstuhl
By Alan Scherstuhl
By Stephanie Zacharek
By Glen Weldon
By Nick Schager
By Amanda Lewis
By Casey Burchby
Nolan's followup offers more muted colors, gift-wrapped themes and GQ leading men with stockbroker comb-backs over the frowns carved in their brows —indicators of high-minded artistry, all. Leo DiCaprio has every reason to scowl, shackled with a character named "Dom Cobb." Fugitive Cobb is a corporate-espionage hired-gun expert at "extraction": lifting secrets out of targets' minds. Drugging them, then joining them for naptime, Cobb can drop in to guest-star in their dreams, and there pick the locks of his marks' subconscious —often represented as an actual safebox, as everything in dreamlife is signified by genre-movie totems. Cobb is planning his "last job before he retires," a mind-cracking with the untested mission of leaving an idea in his mark's head. The target is the heir to a corporate dynasty, Robert Fischer Jr. (Cillian Murphy), who must be persuaded to abdicate his waiting throne.
Following caper procedure, Cobb assembles a team: his researcher (Joseph Gordon-Levitt), mimic (Tom Hardy), apothecary (Dileep Rao), and a novice recruit, Ariadne (Ellen Page), the architect who'll landscape the dreamworlds that they'll hunt. Tagging along on her debriefing, we get glimpses of Cobb's history, his unresolved anguish over the mysterious end of his marriage, from which spring the personal demons that inconveniently invade other people's dreams in the vengeful form of former wife "Mal" (Marion Cotillard). Cobb also lays down the rules of shared dreaming to us via Ariadne, explaining that "we only use a fraction of our brain's true potential."
Nolan has blueprinted a palatial set piece inside Fischer's sleeping mind, an involuted whorl of dream stages leading to deeper dream stages. Team members break off in rear guards, defending one level so the rest can continue on in dreams-within-dreams. Nolan cross-cuts between each stage as synchronized alarm clocks tick toward zero, while surface actions send rippling reactions along the chain.
Three set pieces in one! This Neapolitan ice cream approach is ambitious —and pretty routine when taken apart. Cobb explains his art as "a chance to build cathedrals, entire cities, things that never existed." Those so inclined can follow the script's breadcrumbs and read Inception as a metaphor for the act of artistic creation, with Cobb as director-surrogate —but Cobb/Nolan aren't constructing things that never existed. Fischer Jr. dreams of a car-chase shootout in the pouring rain (better done in We Own the Night, where action was wired to character emotion) and a snowblind siege on a brutalist municipal building. The gun-wielding henchmen in Fischer's dreams are indistinct from the ones that earlier chased Cobb through picturesque Third World streets in what was presumably reality.
Like Nolan, the dream-weavers work from their movie memories (the center of Fischer Jr.'s labyrinth is the intersection of Citizen Kane and 2001) and narrative formula. Planning how to get through to Fischer Jr., one conspirator who's obviously attended a few screenwriting seminars offers: "The stronger the issues, the more powerful the catharsis." Inception is a spectacle about creating a spectacle, and Nolan keeps giving behind-the-scenes glimpses —here, he's suggesting how we filter life through storytelling while intending to use these same dramatic rules to move his audience.
That's the idea, at least. With his inability to let actors occupy a scene together, Nolan couldn't pass Pathos 101, and here he's trying graduate seminar stuff. "The catharsis" at the center of Inception is based on Cobb's choice: whether to go on permanent vacation with his dream-memory of Mal, or to return to real life. There's no push-pull around Leo's torrid emoting, and when the "We're awake now —or are we?" kicker catches you in the pants, who cares? It's obvious that Nolan either can't articulate or doesn't believe in a distinction between living feelings and dreams —and his barren Inception doesn't capture much of either.
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