Nolan isn't afraid to dream a little bigger...

Rating: 10/10 (25 July 2010)

Anticipators called it the movie event of the year. Sceptics called it the unnecessary cash-in following the insurmountable success of Nolan's earlier endeavour. I assure you, believe the hype. One of the most ambitious films in contemporary cinematic history, Inception engages its audience right from the opening scene like few other films before it. Everybody delivers their A-game in a movie that draws inspiration from Memento, The Dark Knight, Ocean's Eleven, James Bond and The Matrix (to name a few) yet remains powerfully original throughout.
Without giving too much away, the film's protagonist Dom Cobb, a world-class thief with the ability to steal secrets directly from the dreams in which they are locked away, is asked to do the opposite: implant an artificial memory in the mind of a major corporate player, in exchange for the clearing of his tarnished name.
From there Nolan leads us through a complex world of metaphysical creation; dreams- within-dreams, if you will. Indeed, it is the director's guiding yet stern hand that applies mind-bending depth to this film. By this I mean that, yes, we are required to pay extreme attention to the story at all times, but are aptly rewarded with an expertly-crafted conclusion that literally leaves your heart pounding and your head questioning the true meaning of the film long after the closing credits.
Nolan has already proved himself an excellent director, and Inception has ensured his legendary status. But, for the film to be considered truly great, it would have to be driven by Dicaprio. This is his best opportunity to stand up and be counted among the greatest actors going around today, and he delivers in a big way. He portrays an inconceivably complex character in Cobb with such passion and professionalism that it really is a toss-up whether the Academy will nominate this, or another troubled role as Shutter Island's Teddy Daniels, as the vehicle towards his first independent Oscar.
Not since The Godfather has such a standout lead performance been matched, if not overshadowed, by an equally brilliant supporting cast. Hardy, Watanabe, Murphy, Cotillard and Caine all act with poise, but honourable mentions must go to Joseph Gordon-Levitt and Ellen Page. As Cobb's right-hand man, Gordon-Levitt shares the comic-relief responsibility with Tom Hardy, but never overplays his hand. Instead, he gives off an air of utter confidence and capability, taking a role supposedly reserved for Christian Bale and making it his own.
Page plays Ariadne (alias: The Architect), the new kid on the scene who acts as the audience's window into this practice of inception. Once the introductory details are dealt with, however, her character is quickly developed into one that has great impact on the mission at hand. She adapts very smoothly in a role that couldn't be more different to her breakout role in Juno, showing exceptional versatility and a promising career in the future.
Initially, I was reluctant to give this film the score I did because of a lapse in the dialogue department for most of the first hour. However, in retrospect, this aspect alone should not warrant a drop in the score considering there was no appropriate alternative available to the filmmakers at that point. This minor gripe of mine is swiftly swallowed up in a parallel world of grand cinematography, engaging plot and mental manipulation of the highest degree. You'll never look back on your dreams the same way again.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review.*