Inception (with implanted spoilers)

look at alfred bustin out soupçon! im always hittin dictionary.com when i read that n*gg*'s posts

is there a "definitive" take on Inception? I remember some pretty wild theories about it circulating. (like it's really Leo being incepted, etc.)

xp: ha!

― ryan, Monday, October 24, 2011 12:38 PM (9 hours ago) Bookmark

i think the one about it really being ~about filmmaking~ is pretty good

great tweet from earlier in the year: "It's official: INCEPTION has replaced THE MATRIX as the annoying film that all my philosophy students bring up, regardless of relevance."

also:

speculation as to which movie Tape Store will endorse to hate in 2011?

― Bitch, it cold outside!!! BURR (San Te), Monday, 27 December 2010 19:05 (9 months ago)

MIDNIGHT IN PARIS, tho I w/o fifty minutes in...

The limbo level is totally like my dreams.

do you love buildings of that type?

Ha! My wife and I have had similar conversations, yeah.

Surprised there wasn't more nudity in this.

I wonder where you got the idea there would be more nudity...?

INCEPTED

sincepted

^^^ "Inception" done in the style of "Sin City"

These dream movies where the hallways are bouncing around or we're painting with flowers now or Eddie Albert's the president on a subway car… seems like there should be somebody naked, if not the lady in some ticket window, then the protagonist himself locked in a conference room.

You need to watch Paprika.

I had a dream the other night where I was assembling a flashlight. That was it.

Did it turn on? Usually batteries are pretty sluggish in dreams.

No! All I did was struggle to put it together.

And then people shot at me with machine guns for 45 minutes.

/scene

I totally get Max's confusion, because the movie was kinda unclear about the Limbo thing. IIRC the level Leo and Marion wasn't Limbo, it was just a deep level of dreaming where time moved really slow (since time moves slower the lower the level you are on is). They spent so much time there because the wanted to, but also because they couldn't get out (there was no outsider to wake them up, they relied on some automatic waking mechanism, so they had to stay there until that kicked in).

Limbo, on the other hand, is a place where you end up if you die while inside the dream. When you're in Limbo, you forget that you are inside a dream, so you're lost there. The only way to get out of Limbo is to kill yourself, but since you don't know that you're dreaming, you're not likely to do that. This is why they are so upset when the Japanese guy dies inside the dream. The reason Marion killed herself was because she thought she was in Limbo, and wanted to "wake up".

However, the movie itself confuses the two in the finale. Leo is clearly shown to be entering the fourth level on dreaming, the one she and Marion spent 50 years in, yet somehow he finds the Japanese guy there, even though he's supposed to be in Limbo, and Limbo is supposed to be an altogether different place. (I guess they did this because otherwise there'd be no explanation why Leo didn't forget he was dreaming, even though the Japanese guy did).

I thought this was one of the biggest flaws in the movie: it spent so much time explaining the mechanistic rules of inception, yet in the end didn't follow those rules itself. Paradoxically, if it hadn't been some damn logical about the dreamworld and opted for a more surreal approach, the finale would've made more sense.

"the level where Leo and Marion were wasn't Limbo"

They should have had someone come in at the end and explain it some more for 15 minutes.

Like the end of "Psycho.

A late-period Orson Welles, preferably.

Aren't there some clues that Marion was right? At the very least, this is an open possibility, and I guess that's why I'm hesitant to really say I've understood what's actually happening in the movie.

lars von trier in a tux

"Ladies and gentleman, what you have seen today has been very confusing ..."

when I first saw it I had the idea that maybe it was constructed like the Escher stairs it depicts at one point, that it leads back into itself at some point. but that's probably wrong and im too lazy to put all that effort into finding out if that's true.

A lot of hand-waving with the limbo thing, but what I got was that you have to somewhat trick your mind into getting you out of there. It's just kind of glaring in a movie where things are spelled out, Ellen Page and Cillian Murphy's characters were able to just get knocked out of there. I assumed it was because it was lining up with the "kicks" in the other dream levels?

Cobb was able to get out because he'd done it before, and he confronts the fact that his version of the dead wife wasn't real and that somehow freed him. The "ah hah" moment of the film was when Cobb quotes Saito's line about being an old man, and turning it around was kind of the "I tricked Saito into incepting himself" moment to me.

So I guess that kind of covers how all four characters get out of there? Really, the limbo bit read to me as if you had to come level of self-consciousness in order to make it away.

http://i40.tinypic.com/148n88x.jpg

http://inception.davepedu.com/

all that use of the word "Architect" reminded me too much of the Matrix sequels. why couldn't they just say "designey people"?

― latebloomer, Wednesday, July 21, 2010 10:43 AM Bookmark Flag Post Permalink

Been a while since someone said fuck nolans utter waste of a career so here it is

I mean yeah obv but he entertains young men who would only be obsessed with the work of some other wasteman if he didn't exist so he may exercise an important cloacal function arguably

Onanical

But it's his potential that irritates most

David Bentley or maybe denilson of directors

i'd say he's fully achieved his potential imo - he's made a highly successful career built on interesting visuals and intricate puzzle-box screenplays (more often than not) but is cursed by a catastrophic inability to understand human emotions which will likely forever prevent him from doing anything worth watching twice

i still can't get over the end of interstellar where mcconnaughey has literally fought to return from a realm outside space and time using the power of love and then when he's finally reunited with his daughter he's like 'hey what's up okaygottagobye!' and fucks off back into space. who fucking thinks like that

it's made even weirder by the scene where mcconnaughey acts the living shit out of a scene where he's wracked with emotion watching video messages from the now-adult children he left behind on earth. it's a scene where he has no dialogue, tellingly

You've got something there.

Harsher judgement as he went from quirky indie guy to mainstream without getting in any way more interesting or nuanced, so it ever was

i do wonder if the tight-lipped bloodlessness of his movies is a function of him being genuinely 'fuckin' humans, how do they work' or whether he's just massively emotionally repressed. if it's the latter i kinda hope he has some kind of breakthrough in the future and goes on to make a ruinous $350m expression of madness that makes jodorowsky look like chris columbus

well there's his dunkirk movie later this year that should at least not be a puzzle box script

lol funny you should say that

"The film is told from three points of view. The air (planes), the land (on the beach) and the sea (the evacuation by the navy). For the soldiers embarked in the conflict, the events took place on different temporalities. On land, some stayed one week stuck on the beach. On the water, the events lasted a maximum day; And if you were flying to Dunkirk, the British spitfires would carry an hour of fuel. To mingle these different versions of history, one had to mix the temporal strata. Hence the complicated structure. Even if the story, once again, is very simple."

http://movieweb.com/dunkirk-movie-story-structure-explained-christopher-nolan/

it will have a lingering shot of a disabled airplane languishing in the rain for about 15 minutes though I'm sure

idk remember that one about having to cross the river with the dog, cat and mouse all of whom hated their fathers

the twist ending leaked a few days ago

http://cdn.collider.com/wp-content/uploads/planet-of-the-apes-ending.jpg

jfc this guy

there should be betting markets on how long the camera sits on Tom Hardy's plane's empty gas gauge in the final cut of the film

i guess this movie will be like the acid test for the nolan aesthetic: is it possible to make a film about dunkirk and somehow end up focusing more on plot structure than on the humans involved?

can youse guys tell me what makes this movie so bad bc i actually happen to really like it

but willing to read why its garbage without vehemently refuting, i guess i dont feel too strongly that it is really good

but i also liked interstellar and the batman series

shit dawg am i emotionally repressed

lay on a glasgow kiss on me so i can feel again

I enjoyed Inception.

Up until the snow level

It's not even that the movies falls apart after that (though it kinda does)

It's that a guy wrote and made a movie that included a snow level

just because he wanted to have included a snow level

Skipping 2330 messages at this point... Click here if you want to load them all.

Clicking on that is actually just you dropping to level 1

I havent seen inception since my initial raves but I have no problems with it as a movie, I guess with Nolan I don't care about his seeming disinterest in making films that are driven by realistic human behavior rather than driven by his plots or by puzzles. Cold and intricate (or "intricate") and cerebral (or "cerebral") action movies are his particular "thing" and he's good at it imo.

However he's also wildly capable of not being good at it, as evidenced by The Dark Knight Rises which is a genuinely weak and ill-conceived and thin and boring movie. Unlike his others (well the ones I've seen, I skipped interstellar and the insomnia remake.)

Dunkirk, who knows. Maybe the stranded soldiers will discover they're actually stranded in a Dom Cobb dreamscape.