"You mustn't be afraid to dream a little bigger, darling."
Yesterday, as I was heaving a forty pound box of litter into my PetSmart cart, a man looked over at me and said, "You must have more than one cat."
Yes. Yes, I do.
Anyway, baby bro and moi saw Inception Sunday night, and it was everything we hoped for. For those who've already seen the movie, I'm sure we can write a freaking thesis on reality versus non-reality, but I'll just
This movie is truly gorgeous, so that's not up for discussion. (Though Ariadne's exploding street looks noticeably bad, IMO. Was it just me? Did it stand out?) And from what I've read, some viewers consider Inception to be the Einstein version of Ocean's Eleven; I can see the connection, though the main story is about giving, not taking, and I think that's more interesting anyway. I love Inception's take on the repercussions of an idea, and what it does to human consciousness: how it changes us, how we're able to trace ideas back to their genesis.
I really like Dom's team, but was surprised that they hardly had any back story-heck, half of them don't even have last names. But do they need either? The first act is filled with so much exposition (I don't want to say there's too much, because you can't just dive into dreams without knowing how they work) that more non-story-related stuff would have made the two-point-five hour film too long.
My takes on the characters:
Unfortunately, Dom Cobb's tragic story is lessened thanks to Shutter Island. What are the odds that two big summer films would involve Leo having imaginary and crazy wives?
Ariadne, a shout-out to Greek mythology, is one cool chick, and I love her part in relation to the myth. Mythology is so cool! ♥
I like Saito, and prefer to think he understands the consequences of an energy monopoly, even though the end will result will benefit his company as well.
Arthur and Eames are adorable, and yes, they flirt. (TV tropes even says so!) I'm sorry, but Eames is way too happy about giving Arthur "the Kick"-it's the equivalent of pulling pigtails.
Eames as a "forger" is a neat concept to explore.
AUGH THE ENDING. I want to believe Dom is in reality, but if that's the case, his children should be older than he remembers them. He's been gone at least a few years, right? Long enough to have associates and create a shady business for himself. Then again, the top kinda wobbled. Plus, baby pro pointed out that Dom can't remember his kids' faces, so the fact he sees them means he's in RL. It's 50/50 for me, man.
THE MUSIC! My brother and I simultaneously agreed that it was great (Time, in particular) and worked well with the scenes. We love our film scores, yo.
What I don't appreciate is 1) those who slam this movie as being unoriginal, or 2) those who think it's too complicated for the American public to understand.
Wikipedia says, In his review for the New York Press, Armond White wrote, "there’s a simple-minded sappiness at the heart of this cynical vision. if anything, the time and consciousness tricks stolen from The Matrix make Nolan a bastard Wachowski brother, not a son of Kubrick. Despite its big budget ... Inception is full of second-rate aesthetics, yet when shoddy aesthetics become the new standard, it’s sufficient to up-end the art of cinema". Well, sheesh. It's easy to slam something until you have to sit down and write screenplays yourself. Walk a mile in Nolan's shoes, pal. (Though it also says this Armond White guy is contrary just to be contrary, so his reviews might be irrelevant anyway.)
And the public isn't stupid! We don't need a Dick and Jane movie, where it takes three pages to tell a reader that Jane saw Spot run. We can handle concepts and big ideas. Give me a break!
Yes. Yes, I do.
Anyway, baby bro and moi saw Inception Sunday night, and it was everything we hoped for. For those who've already seen the movie, I'm sure we can write a freaking thesis on reality versus non-reality, but I'll just
This movie is truly gorgeous, so that's not up for discussion. (Though Ariadne's exploding street looks noticeably bad, IMO. Was it just me? Did it stand out?) And from what I've read, some viewers consider Inception to be the Einstein version of Ocean's Eleven; I can see the connection, though the main story is about giving, not taking, and I think that's more interesting anyway. I love Inception's take on the repercussions of an idea, and what it does to human consciousness: how it changes us, how we're able to trace ideas back to their genesis.
I really like Dom's team, but was surprised that they hardly had any back story-heck, half of them don't even have last names. But do they need either? The first act is filled with so much exposition (I don't want to say there's too much, because you can't just dive into dreams without knowing how they work) that more non-story-related stuff would have made the two-point-five hour film too long.
My takes on the characters:
AUGH THE ENDING. I want to believe Dom is in reality, but if that's the case, his children should be older than he remembers them. He's been gone at least a few years, right? Long enough to have associates and create a shady business for himself. Then again, the top kinda wobbled. Plus, baby pro pointed out that Dom can't remember his kids' faces, so the fact he sees them means he's in RL. It's 50/50 for me, man.
THE MUSIC! My brother and I simultaneously agreed that it was great (Time, in particular) and worked well with the scenes. We love our film scores, yo.
What I don't appreciate is 1) those who slam this movie as being unoriginal, or 2) those who think it's too complicated for the American public to understand.
Wikipedia says, In his review for the New York Press, Armond White wrote, "there’s a simple-minded sappiness at the heart of this cynical vision. if anything, the time and consciousness tricks stolen from The Matrix make Nolan a bastard Wachowski brother, not a son of Kubrick. Despite its big budget ... Inception is full of second-rate aesthetics, yet when shoddy aesthetics become the new standard, it’s sufficient to up-end the art of cinema". Well, sheesh. It's easy to slam something until you have to sit down and write screenplays yourself. Walk a mile in Nolan's shoes, pal. (Though it also says this Armond White guy is contrary just to be contrary, so his reviews might be irrelevant anyway.)
And the public isn't stupid! We don't need a Dick and Jane movie, where it takes three pages to tell a reader that Jane saw Spot run. We can handle concepts and big ideas. Give me a break!