Inception Hollywood Sci-Fi Movie 2010
Cast And Crew
Cast:Leonardo DiCaprio,
Ken Watanabe, Joseph Gordon-Levitt,
Marion Cotillard,Ellen Page,Tom Hardy,
Cillian Murphy,Tom Berenger,Michael Caine,
Lukas Haas,Tohoru Masamune
Director: Christopher Nolan
Producers:Christopher Nolan,
Emma Thomas
Music Director:Hans Zimmer
Photographer: Wally Pfister
Composer: Hans Zimmer
Release Date: 16 Jul 2010
Genre: Sci-Fi
Language: English
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Inception Synopsis:
Inception is a sci-fi action thriller film. Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable.
Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved.
Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible: inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one.
If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.
Inception Reviews:The most pertinent question discerning moviegoers will ask each other this summer is not “Have you seen Inception?” but rather “How many times have you seen Inception?”
It’s that demanding a film, one that will puzzle and infuriate as many people as it enraptures and enchants. Repeat viewings are recommended, even urged.
Writer/director Christopher Nolan changed the way people thought about superhero movies with his cerebral blockbuster The Dark Knight. With Inception, he has boldly reinvented the heist picture, once again rattling the cranium in the process. The film is the year’s brainiest thriller; it might also be the riskiest.
Leonardo DiCaprio cuts a rakish figure as Dom Cobb, a corporate spy who functions like the Freddy Krueger of the boardroom: he enters the dreams of industry captains and steals their most valuable secrets. It’s a process called “extraction” and, for a price, Cobb can also teach businessmen how to block midnight assaults on their most hidden thoughts.
Cobb’s talents are eagerly sought, but they have taken a personal toll tinged with intimations of tragedy. He’s chased by memories of his wife, Mal (Marion Cotillard), the mother of his two young children, whose status in his dream life is as uncertain as her corporeal existence is in the real world.
Mal is thus right at home in Inception, where nothing can be taken at face value and you’re never sure if you’re inside your own head or someone else’s.
Canadian cutie Ellen Page is Ariadne, a student architect Cobb hires to join his ace team of extractors. Her job is to design realistic dreamscapes of rooms and buildings that will help hoodwink the team’s corporate marks.
“You are the dreamer; you build the world,” Cobb tells her.
Ariadne also functions as the film’s “Basil Exposition,” the audience’s representative in trying to figure out what’s going on. She constantly quizzes Cobb about actions and motives.
Cobb’s team also includes Arthur (Joseph Gordon-Levitt), who works so closely in concert with him, he could almost be considered his avatar. Then there’s team forger Eames (Bronson’s Tom Hardy), who can shape-shift to keep up with the ever-deepening layers of deception. Finally, there’s a chemist named Yusuf (Dileep Rao), who brews the drugs needed by both Cobb’s crew and their victims to properly consummate a dream theft.
Regarding the drugs, the least compelling part of the film, it’s a pity Nolan didn’t devise a less hoary mode of psychic transit. But it is steeped in tradition: The Matrix and its literary antecedent, Alice In Wonderland, two of many acknowledged inspirations for Inception, both employed pharmaceuticals to enter alternate realms.
Cobb and his dream raiders are given their most challenging assignment by a businessman of curious interests named Mr. Saito (Ken Watanabe), who wants them to implant an idea inside a rival’s head, rather than pulling one out. This perilous process is called “inception” (hence the film’s title) and it requires the triple play of negotiating a dream within a dream within a dream, a concept that’s almost impossible to fathom.
The subject of the inception is billionaire heir Robert Fischer, Jr. (Cillian Murphy), who has to be covertly convinced to dissolve the company about to be bequeathed to him by his dying father. Failure to do so, Saito darkly warns, could have dark consequences for the world — we assume he means the real world.
Nolan is far from the first director to use dreams and alternate realms for dramatic purpose. There are any number of film and literary influences found in Inception, the most compelling being Last Year at Marienbad, the classic brain screw by French director Alain Resnais that set a potentially dangerous romance inside an unsteady realm of doubt and intrigue.
The connections are both visual and aural. Inception was filmed in colour, but it’s so desaturated it resembles Marienbad’s monochrome steeliness. Hans Zimmer’s occasionally strident score strikes notes with Resnais’s work.
Interestingly, Nolan claims not to have seen Marienbad before making Inception, but he feels he may have been unconsciously affected by films that were influenced by it. He also disavows any prior knowledge of Martin Scorsese’s recent Shutter Island, also starring DiCaprio, in which marital grief and concepts of reality and unreality are similarly explored to graphic extremes.
Where Nolan breaks fresh ground is how deeply he probes the grey matter of both his characters and the audience. He makes no concessions to mainstream notions of plot and character development, even as he constantly one-ups the thriller and heist genres with dazzling action scenes. A scene where a speeding train gives jaw-dropping new meaning to the old saying about having your thoughts derailed is sure to send senses reeling and hearts racing.
It’s no coincidence that Murphy’s character, who is not as gullible or ripe for exploitation as he seems, is named after late chess master Bobby Fischer, who was as willfully mercurial as he was brilliant.
Inception is just like that, constantly confusing us even as it appears to be leading us on the path to enlightenment.
Concepts and explanations are thrown out on the run — “Downwards is the only way forwards!” Cobb bafflegabs — and there will be many times you'll wish you could grab one of the small talismans that dream travellers hold close to them in the film, in order to prevent themselves from forever becoming lost in a subconscious state.
Inception isn’t a perfect film. Nolan may well have overestimated the patience of the audience, especially since the film takes a good hour of its nearly 2 ½-hour running time to get its mental machinery fully cranked.
At first, Inception left me cold, feeling as if I’d just eavesdropped on somebody’s bad acid trip. Now I find I can’t get the film out of my mind, which is really the whole point of it, isn’t it?
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