'Inception' Mega Thread *SPOILERS FROM POST 292 ONWARDS*

Jako8

Making of feature here.

2

They're short but interesting enough. The DVD better have a long behind the scenes feature. :P

Fuking hate the internet, just read a 5 word spoiler without even trying to look up the movie.

Duggy747

Finally got to see this after saying to everyone since May of last year that this film would be something big, that Nolan wouldn't disappoint!


Expectations were through the roof for this one...












...and I fùckin' loved it! I wasn't disappointed one single bit, the entire film length had me gripped right from the Warner Bros. logo right up to the end credits. Whatever about Avatar, this was one hell of a visual and audio feast!! Fùck bigger effects, THIS is how you make a film with practical story-telling and set-pieces.

When Leo is explaining to Cillian Murphy why the hotel bar is shifting in gravity Nolan actually built a hydraulic set to show this couple of seconds.............that's what I love about him, he doesn't think CGI will cure everything.

To be honest, leading up to this film I was worried from bad reviews as they all agreed that this was an emotionless, hard film to follow..............but I had zero problems keeping up and I got stuck sitting to the far left of the cinema so there were times were the music would drown out the dialogue sometimes. But even then I still knew what the characters were on about.

The actors were flawless in this, Tom Hardy being the most enjoyable. It was refreshing to see that this heist team didn't go down the route of

double-crossing each other and actually worked together for the same goal. It made you care about the fate of each of the team members that bit more.

The set-pieces were incredible, when the team's job kicks in it doesn't let up.

The movie starts spreading across the different layers of the concious mind and operating at the same time, at different time speeds.....it's a masterstroke. Each one more enjoyable than the last, especially how the 1st level the van defines how the gravity of the 2nd level works. That hallway fight actually gave me tingles it was that brilliant, so well done.

It's not flawless and there are some plot-holes but, really, Nolan out did himself and gave us a smart blockbuster film that actually rewards the brain. My biggest gripe with the film is that it ended. You won't find the 2 and 1/2 hours fly by.

If anything, I really need to see this film again to have a proper, detailed judgement on it. It's a hard film to give a final verdict on after one viewing.

Do youself a favour and go see this film, it's what the cinema-going experience is about!

EDIT: Forgot to mention Hans Zimmer is on top-form as usual, that man's head is a bottomless pit for pulling out excellent soundtracks!

Handsome Bob

What did everyone think of the ending?

I liked how Nolan left it up to the audience to decide. Personally, I think Cobb is still in a dream world, there was just something about the sequence from when Cobb wakes up to the end that was just too perfect. It was literally Cobb's dream (or ideal) ending.

That being said, the old sentimental fool within me likes to think it was real, I do think that the totem was slightly waivering. :P What an ending though, it's been a long time since I've been on the edge of my seat willing something to happen (in this case, the totem falling out of spin).

Duggy747

Well...

It's actually why I need to see this film again. I'm not sure but I think when he returns to his house he sees his kids in the garden, wearing the same clothes, in the same position, doing the same thing. Seems too convenient and similiar to the interferring dreams he was having about them.

That being said, I also thought the Totem (an idea I loved throughout the movie) began to lose it's spin..............and I also wanted it to fall for Cobb's sake.

:pac:

When Cobb comes back to Saito who was stuck in limbo it's left to be very vague in terms of what happens during their talk at the table. Did Saito go for Cobb's gun or his Totem?

Then again, they both woke up on the plane and Cobb went home. I don't think Cobb went into a state of mind where he created an entire world populated with the other characters and...................aaaarrrrghh, it's brain meltingly good!!

Handsome Bob

Duggy747 wrote: »

Well...

It's actually why I need to see this film again. I'm not sure but I think when he returns to his house he sees his kids in the garden, wearing the same clothes, in the same position, doing the same thing. Seems too convenient and similiar to the interferring dreams he was having about them.

That being said, I also thought the Totem (an idea I loved throughout the movie) began to lose it's spin..............and I also wanted it to fall for Cobb's sake.

:pac:

When Cobb comes back to Saito who was stuck in limbo it's left to be very vague in terms of what happens during their talk at the table. Did Saito go for Cobb's gun or his Totem?

Then again, they both woke up on the plane and Cobb went home. I don't think Cobb went into a state of mind where he created an entire world populated with the other characters and...................aaaarrrrghh, it's brain meltingly good!!

Good point on the kids in the same position and wearing the same clothes, I hand't of thought of that!

I'd have to see it again, but it looked like Saito was going for the gun. Does Saito shoot Cobb? If he does, does Cobb fall into an even further state of limbo where he just creates another ideal world for himself? I think the reason Cobb might of created a world with the other characters is because he felt guilty. He knows that his own inner demons and decisions put their lives are great risk. So he recreated a world which said "Hey, mission accomplished, everyone is okay so now I get to go home and see my kids."

Then again, Cobb insists that he knows what is and isn't a dream, he says he'd never let himself see his kid's faces until he saw them in real life. Aghhhh, it is a brain melt all right, but a good one to have nonetheless! :P

bnt

LZ5by5 wrote: »

I liked how Nolan left it up to the audience to decide. Personally, I think Cobb is still in a dream world, there was just something about the sequence from when Cobb wakes up to the end that was just too perfect. It was literally Cobb's dream (or ideal) ending.

Duggy747 wrote: »

Well...

It's actually why I need to see this film again. I'm not sure but I think when he returns to his house he sees his kids in the garden, wearing the same clothes, in the same position, doing the same thing. Seems too convenient and similiar to the interferring dreams he was having about them.

That's weird, because

I suspected that kind of thing while watching it, and I'm positive the kids were wearing different clothes in that final scene, or at least one of them was. I think putting them both in the same clothes would be too much of a bias towards the "dream" explanation, while different clothes would be possible in the dream or reality.

bnt

One quick point about ageing in the film:

I get the impression that ageing in the film is totally subjective, "in the eye of the beholder". You had Cobb and Mal spend 50 years together, building that city, and at the end there's a shot of them as old people (as described by Cobb). They appear at the end of the same dream as young people, when they lie down on the train tracks to get "killed" and out. Saito aged after years in limbo, but Cobb didn't: is that because Cobb thought that way, or Saito?

Duggy747

bnt wrote: »

One quick point about ageing in the film:

I get the impression that ageing in the film is totally subjective, "in the eye of the beholder". You had Cobb and Mal spend 50 years together, building that city, and at the end there's a shot of them as old people (as described by Cobb). They appear at the end of the same dream as young people, when they lie down on the train tracks to get "killed" and out. Saito aged after years in limbo, but Cobb didn't: is that because Cobb thought that way, or Saito?

That's why I need to see it again, it's such a detailed film that it's almost impossible to figure it out on one viewing. You could be right about the kids, I'm not even entirely sure, just a bit of guess as I didn't pick up until the last shot of them. I also think the ageing thing was subjective.

How did Cobb wind up on the beach, knowing that Saito would be around?

phasers

I may have made this up, but you know when

Cobb is on the phone to his kids early in the movie? At one point his son says something and I thought he sounded much older, and Cobb even had to ask who he was speaking to

That made me think that the ending was

a dream

, that and

the clothes

. Although as I said, I could have made it up to explain the ending to myself

fulhamfanincork

First off all, I am really surprised that the soundtrack for the movie wasn't Examples Lovekick starts again - http://www.youtube.com/watch?v=5iu7Im8cbAU

Secondly, loved the movie but I need to watch it again.

9/10

Savman

Mr Nolan, I salute thee.

Truly a masterpiece, if ya can keep up. Not that hard if you pay attention

gamby

bnt wrote: »

One quick point about ageing in the film:

I get the impression that ageing in the film is totally subjective, "in the eye of the beholder". You had Cobb and Mal spend 50 years together, building that city, and at the end there's a shot of them as old people (as described by Cobb). They appear at the end of the same dream as young people, when they lie down on the train tracks to get "killed" and out. Saito aged after years in limbo, but Cobb didn't: is that because Cobb thought that way, or Saito?

i am thinking the same way as this, i jus think that Saito aged in limbo but cobb didnt because it was his dream.... are people thinking the same as this??

Handsome Bob

gamby wrote: »

i am thinking the same way as this, i jus think that Saito aged in limbo but cobb didnt because it was his dream.... are people thinking the same as this??

I'm not sure, I think Saito aged because maybe he wasn't aware he was in limbo anymore? Cobb knew he was in limbo, he knew it wasn't real, so maybe this is why he didn't age? Maybe it's only when you embrace the dream as reality (like Cobb and Mal did for 50 years until Cobb snapped out of it) that you begin to age.

On a sidenote, I see that it has really split critics down the middle, I'm disappointed with only 76% among top critics at RT. My main gripe is that nearly every negative review says it has no heart and lacks emotion. I don't agree with that all. I came to care about every character, especially Cobb. I mean the ending was one of the most emotionally engaging endings I've seen. I was on the edge of my seat willing the

totem to fall, so Cobb would finally get happiness that was real and not in a dream.

Then there are the supporting characters.

I didn't want Saito to die and fall into limbo because the idea just terrifies me.

I groaned when Cobb allowed Mal to shoot Fischer.

I was willing Arthur and Eames to survive their respective shoot outs.

I mean I just don't understand the criticism that the film lacks emotion and heart at all.

Necronomicon

LZ5by5 wrote: »

On a sidenote, I see that it has really split critics down the middle, I'm disappointed with only 76% among top critics at RT. My main gripe is that nearly every negative review says it has no heart and lacks emotion. I don't agree with that all. I came to care about every character, especially Cobb. I mean the ending was one of the most emotionally engaging endings I've seen. I was on the edge of my seat willing the

totem to fall, so Cobb would finally get happiness that was real and not in a dream.

I couldn't agree more. At the end,

there was one collective 'Ah come on!' cry from the audience.

johnny_ultimate

On the ending.

Personally, I left thinking that he had made it back into reality. It's the ending I wanted, and seemed in many ways to fit. Watching the spinner at the end, I felt it looked like it was about to topple too.

That was my favoured interpretation, but I also wonder could this film have a definitive ending? That's why I thought the film could only end this way. It's a film about the clash between dreams and reality, and the confusion and uncertainty experience by those who experience said clash. The film constantly tricks you and the characters, everyone's constantly uneasy with the possibility that they could wake up any minute. Or maybe not even that: it's also possible that they are all dreaming, only existing in the mind of one character, merely projections.

In a film designed to challenge and demanding the viewer keep on top of what and where the characters are, I think an ambiguous ending is the final compliment. Nolan is a director who doesn't treat the audience like idiots, and hurray for that!

Vokes

Just thinking back now, I guess Saito was much older than Cobb in that deepest level simply because he was there a few minutes longer from the previous level's perspective, which equated to 50 years in the deeper level.

On the ending though,

I actually think its a shame the totem didn't fall over. We, the audience, had invested ourselves completely in Cobb's struggle to get back to his kids .... and then Nolan sort've cheated us at the end. Just imo of course

I like to think though he did get back to reality because we finally see the kids' faces, which we never saw in any of the previous dreams.

By the by,

looks like Nolan is dying to do a Bond flick. That combination of that snow fortress and Hardy taking on the machine-gun henchman on their skis was all very Bond-ish. Also in places the (wonderful) score had some very Bond-ish moments (lots of brass, etc).

Roar

Vokes wrote: »

Just thinking back now, I guess Saito was much older than Cobb in that deepest level simply because he was there a few minutes longer from the previous level's perspective, which equated to 50 years in the deeper level.

that's what i was thinking too..

gamby

Roar wrote: »

that's what i was thinking too..

a few mins in the third level is not gona be 50 years in limbo??, 5 mins in the 3rd level would be jus 1hr in the next......????

phasers

gamby wrote: »

a few mins in the third level is not gona be 50 years in limbo??, 5 mins in the 3rd level would be jus 1hr in the next......????

It could be, the deeper in you go the more time passes.

gamby

phasers wrote: »

It could be, the deeper in you go the more time passes.

i think the deeper ya go in the more time passes from the original dream, but think its a case that 5mins in each level is 1hr in the next... i would think that it is a case that saito didnt realise its a dream but cobb knows it is, thats why cobb didnt age.....

killbillvol2

Just saw this on an IMAX screen. F*** me! What a movie!

Jako8

LZ5by5 wrote: »

On a sidenote, I see that it has really split critics down the middle, I'm disappointed with only 76% among top critics at RT. My main gripe is that nearly every negative review says it has no heart and lacks emotion. I don't agree with that all. I came to care about every character, especially Cobb. I mean the ending was one of the most emotionally engaging endings I've seen. I was on the edge of my seat willing the

totem to fall, so Cobb would finally get happiness that was real and not in a dream.

Then there are the supporting characters.

I didn't want Saito to die and fall into limbo because the idea just terrifies me.

I groaned when Cobb allowed Mal to shoot Fischer.

I was willing Arthur and Eames to survive their respective shoot outs.

I mean I just don't understand the criticism that the film lacks emotion and heart at all.

I agree. I can't see how this film lacks emotion.

I was engrossed in Cobb's predicament and at the end I was praying the totem would fall. I also wanted the other characters to succeed.

I think it might just be an excuse for reviewers to give a bad review because of all the hype.

My favourite interpretation of the ending is that

Cobb got out and everything was real.

Mickeroo

What a film! Just back from it.

When Levitt's character was fighting the guy as the van was rolling was one of the best action sequences I've seen in ages, and not a bit of noticeable wirework in it!

I am very much in the top was about to fall over camp and that cobb had made it back to reality. Can't wait to see it again.

As for critics saying they didn't find it emotionally engaging, I am completely perplexed by this, there wasn't one character I didn't become emotionally attached to over the course of the movie.

I liked Tom Hardy and Joseph Gordon Levitt's characters the best I think.

parker kent

Vokes wrote: »

By the by,

looks like Nolan is dying to do a Bond flick. That combination of that snow fortress and Hardy taking on the machine-gun henchman on their skis was all very Bond-ish. Also in places the (wonderful) score had some very Bond-ish moments (lots of brass, etc).

He has said numerous times in the promotion of the film that he sees this as his take on a Bond movie and that he has been a Bond fan. The interview I am thinking of was in Empire or Total Film but there are plenty of links around such as this one http://www.slashfilm.com/2010/07/09/christopher-nolan-says-hed-love-to-do-a-bond-film/

On a different note, I cannot believe anybody being negative towards this film or saying the The Matrix is better. Inception is a sci-fi masterpiece.

Nanoc

on the ending..

I reckon he didn't make it back to reality, if you remember after he tried the "heavy sedative he woke up and went to the bathroom to spin it but he knocked it over after he was interrupted and he never tried to spin it again until the last scene.....at least he knew what to do to get home though

krudler

Just saw it, thought it was fantastic. Nice to see a mega budget movie that doesnt pander to audiences, and lets you figure things out for yourself a lot of the time, yeah Page's character is basically the Neo of this film where shes who everyone explains the rules and workings of the movies universe to, but she has her own part to play. Gordon-Levitt and Tom Hardy stole the show I thought.

The extended setpiece between the van chase, corridor fight, snowbound Bond sequence and finale was one of the most well constructed sequences I've ever seen, there were audible gasps from the audience during the hotel corridor zero-g fight, it was stunning. Its complex and sometimes I forgot who's dream we were in as the layers begin to start getting more and more complicated but it works out brilliantly in the end, great movie.

Cant wait to see how they shot the corridor fight.

Snake Plisken

Great Movie loved every minute of it. Went home and watched the Prestige with a friend who hadn't seen it before straight after it. On the subject of the ending

I watched the end credits and for the cast of the kids it had two sets of actors one set at the younger age and different actors for the last scene where he see's his kids faces that says to me that it was reality because in the dreams he could never see their faces and I do believe the top was beginning to slow down on the table. So he got back to reality in the end

Damn I play to much COD MW2 as i thought the snow scenes where straight out of one of the missions in the game

seraphimvc

movie of the YEAR.nothing much really i can add:D i am just afraid of how many people will actually know whats really happening in the movie haha

one small question tho,

why in the first place that Cobh and the wife started that '50 years' dream?was it just Cobh wanted that or it was their common interest?

You just gotta love it how Nolan handle the tension thrughout the film eg:

Seito get shot and may 'die' in the dream that gets us worry about whether will Cobh really get home. the movie's pacing is really nicely handled. the ending not only resolve the main line 'James Bond Mission' and also release Cobh from his trauma

- VERY nice touch that making this movie has so many 'layers' in it.

Oh god, LOVE NOlan!!!!:D

nyarlothothep

Loved the concept, with the subconcious layers and time differentiations between them, really nice. But Nolans style just ruins it, for example the music over the dialogue scenes, in which they devised the plan, he keeps doing this in all his films, the overuse of music, its just overpowering and lessens the dramatic impact of the scenes. Ok in certain scenes like the end yeah its appropriate but that main theme returned way to many times. In addition he really rammed home the idea of one idea defining someone with the subteltly of a german sledgehammer, again does this with TDK, it just got tiresome, yeah I get the central theme you don't have to repeat it 10 billion times. Also the scenes with cobbs wife were really sappy and she was just a typical female emotional stereotype, boring. The lines tell me what you feel what you believe not what you know were really annoying, what like blind faith is meant to trump knowledge? Bleurgh. I liked the ending though, very cool.

Dont think he made it out, the spinning top wobbles but re-adjusts its position, that doesn't happen in reality I think.