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Inception
It's tempting to review Inception simply by saying, "it's just such a Nolan film" and leave it at that as that short statement embodies just about every complementary declaration that can be made about possibly the finest director currently working in Hollywood. A perusal of Christopher Nolan's catalogue of work - Memento, Insomnia, Batman Begins, The Prestige and The Dark Knight - reveals not one dud, indeed it is a filmography of great distinguished bent which bridges the divide between exquisite intellectual cinema and populist multiplex fare. That he also writes his own screenplays alludes to a truly remarkable mind; the only thing more remarkable about the Memento script, for instance, is that somebody was actually able to conceive such an idea (actually by Nolan's brother, Jonathan) and then have the extraordinary gymnastic mind to commit its complex structure to the page. Similar can be said for Inception, for although the mechanics of the script itself are less complex than that of Memento, its conceptualisation is no less profound.
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Imbued with masterfully executed parallel-reality action sequences, sterling performances from an A-list cast and a ticking clock soundtrack driving the momentum of the film forward at a hasty clip, Nolan's ability to deliver such a high concept premise to the masses is without equal. Shoring up his cerebral journey with such bankable attributes, he guarantees the choking of multiplexes with intellectuals and action fans alike.
With repeat viewings revealing unforeseen subtleties further enriching the viewing experience, Inception stealthily deceives the casual movie-goer into an enlightening cinematic experience and demonstrates that movies can be so much more than just explosions and pretty girls - but they can have those too! This is perhaps the greatest achievement of Inception (and the handful of other films like it); indeed a cunning inception of its own kind, perhaps?
Stuart Jamieson
www.inceptionmovie.warnerbros.com
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