CHRISTOPHER NOLAN’S INCEPTION — A REVIEW BY NICK CLEMENT

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I still don’t understand everything that happens in Christopher Nolan’s spellbinding sci-fi epic Inception, but I don’t care, because I am convinced that Nolan understands it all, and that’s good enough for me. This is a supremely satisfying movie that leaves your head spinning, much like the best of Nolan’s work (The Prestige, Interstellar, The Dark Knight Rises, Memento), and given that I’m a massive fan of his entire filmography and overall aesthetic, it’s no small thing to say that this film might be his most totally realized effort to date. I’m not sure. It’s debatable, of course. The Prestige is probably my favorite of his overall, just because it’s so damn fun and unique for a period film. But on repeated viewings of Inception, zero impact has been lost over the astounding cast (I absolutely LOVE Tom Hardy in this movie), the impeccable cinematography by Wally Pfister, the dreamy narrative concocted by Nolan, the nearly operatic musical score courtesy of Hans Zimmer, and the overall sense that anything’s possible within the visually stunning fantasy sequences that mix architectural rigidity with a sensual swirl of emotions and passion and free-form association that our most vivid dreams and nightmares are capable of concocting. The ending is deliciously tantalizing to ponder, constructed not as a cheat, but as a further extension of all that has come before it. Leonardo DiCaprio was seriously on-point, much like everyone else who Nolan recruited, while the thundering action scenes resonate with nods to Bond, the Wachowskis, and classic action movie cinema, all of which has further cemented Nolan as a populist popcorn auteur with a cerebral streak that separates him from the rest of the blockbuster pack.

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