A year ago, Nolan mezmerized the world with the action-filled The Dark Knight, And his ability to masquerade an extremely good action hero film as a modern masterpiece.  This is what Nolan does.  It’s his talent and livlihood.  He makes the action genre seem new again.  There’s nothing genuinely new in Inception.  The marvel of the film, is that he makes it seem like there’s something there that we’ve never seen before, when we actually have.

The story, which is also penned by Nolan, follows a remarkable man named Cobb, played by Leonardo DiCaprio, who plays the same, emotionally haunted character he played in Shutter Island.  Cobb is one of the leading players in a new field of sub-conscious corporate espionage.  He explores the dreams of high-powered people, in order to steal their ideas, and secrets in the world of their dreams, when the subconscious is at its most susceptible.  This business, as you can imagine, is both dangerous and lucrative.

Cobb is married to Mal, represented by Marion Cotillard.  I say represented, because Mal isn’t actually a character in the film, but rather a representation of Cobb’s psyche.  Is this getting confusing?  Be prepared, the film is as well.  I won’t reveal too many plot points, because doing so would ruin the magic that Nolan has created here.  I will say, that due to criminal charges, Cobb is not allowed to return to the US, and congruently, his children, who live there.  Cobb is presented with an opportunity, the chance to not only steal an idea from someone, but plant one in someone’s head without this person knowing.  Cobb is, unfortunately, an undeveloped character.  I say undeveloped because he is someone I would personally love to know more about.

Cobb assembles a solid team.  There’s Arthur (Joseph Gordon-Leavitt), Cobb’s best friend.  There’s Ariadne (Ellen Page), the new-comer “architect” of these dream worlds.  She’s new, but extremely gifted.  There’s Eames (Tom Hardy of RocknRolla fame), and Saito (Ken Watanabe), the rich gentlemen and CEO hiring Cobb to insert this idea into the new CEO of his rival company.

We mustn’t forget Cillian Murphy who plays Fischer Jr., this new young CEO.

There’s much ambiguity in the rules of the worlds Nolan creates.  He allows for a science which creates the techonlogy of “group dreams.”  Basically, an acid trip where all those tripping (and connected to the same machine) are allowed to experience together.  This all occurs in the dream state.  A dream state which is curiously mundane.  My dreams do little to imitate rational life.  But in Nolan’s world, somehow, this does not need explanation.

To explain the plot in plain terms would be to say that the Cobb’s team members have to synchronize events in a dream, within a dream, within a dream, within a subconscious.  And in each of these states, there is a different speed of time.  Again, this is confusing, I reiterate that there is much that I missed in my first viewing of Inception. The mischief this team gets into leads them from the downtown streets of a metropolis, to the confines of a extremely chic hotel, to snowy mountain tops, to a crumbling and abandoned city.

There are explosions, drama, a score that instructs the viewer on how to feel.  All of this is nothing new.  But again, I say, this is where Nolan is most talented, but falls short of a master of film.  He takes what we’ve seen a million times before, puzzles, mystery, characters that aren’t fully developed, and makes it all seem intriguing, and takes a two hour and twenty two minute run times, and makes it feel like all I want is more.

The technical achievements of Inception deserve the most praise.  There is a particularly stunning fight seen in a hotel between all sorts of “projections” and Joseph Gordon-Leavitt, in which the pull of gravity is shifting constantly making their world spin over and over.  The effects here are breathtaking, and in today’s screening, I was truly reminded of the importance of summer blockbusters.

There’s nothing visionary about Inception, but that doesn’t mean it was deftly directed, with brilliant performances, and a mindbending plot that will leave you completely in awe of this director.

4 out of 4 stars

I enjoyed the film, a lot.  I’ll probably go see it again.  Heath Ledger was haunting and brilliant in his performance, the action was endlessly entertaining (the more elaborate scenes were filmed in IMAX).  But I left the theater feeling slightly underwhelmed.  This isn’t Christopher Nolan’s fault, who deserves such high praise for reminding us that high-budgeted, big studio movies can be more than just mindless drivel.  It wasn’t the actors’ fault (the cast was stellar; let’s thanks the folks with Scientology who mind-controlled Tom Cruise into forbidding Katie Holmes from reprising her roll as Rachel, Maggie Gyllenhaal is a better actor than Holmes will ever be.).   But I daresay it was the fault of the studio who previewed this film so much to critics, so far in advance, that I’ve been expecting a damn near perfect film since mid-June.

The studio really couldn’t care about this side effects of building such rapport.  They already have their great reviews, they already have (according to early estimations) the highest grossing opening weekend of all time.  So no one was really hurt I suppose.

I’ve had a few such experiences, when a movie is built up so much that I feel a little let down (I know someone who is definitely not me who was underwhelmed upon his first viewing of ‘The Godfather’ due to this very reason).

Of course, all this media fanfare about the movie doesn’t make the movie itself any less well made.  The two and a half hours literally flies by as you’re mesmerized by Aaron Eckhart as Two Face, Michael Caine as Alfred, the twisted love triangle between Harvey Dent, Bruce and Rachel, and all the other goodies that Nolan used to weave this masterful web.  My one  other qualm with TDK is this: Where’s Christian Bale?  It’s granted that this was Heath Ledger’s moment to shine (even more so with this being his last performance) but Bale is wicked talented, and definitely needed more screen time.  He’s the reason ‘Batman Begins’ was so revitalizing for the franchise, he should have been given more opportunity to show his acting chops.

3.5 out of 4 stars

Rottentomatoes: 94% – Cream of the Crop: 90%