Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible-inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming. Written by
Warner Bros. Pictures
Just as Cillian Murphy's character was named Robert Fischer as a tribute to champion chess player Bobby Fischer, his father's (Pete Postlethwaite) character is named Maurice Fischer as an homage to artist M.C. Escher (full name Maurits Cornelis Escher), whose art was clearly an inspiration for many of the special effects in the film. See more »
In the beginning when you see the old man sitting at the table, one of his guards brings him a top that they found with Cobb. He sets it down so it leans to the side with the bottom point touching the table. In the next frame, the longer top point is touching the table. See more »
At the end of the credits Edith Piaf's "Non, Je Ne Regrette Rien" plays at normal speed, then slows down to the speed it was at the beginning of the film during Hans Zimmer's score and throughout the movie. Then we see the title stop in the center of the screen as the song ends. See more »
It's a heist movie with a banal twist, placement rather than extraction. Forget Sigmund Freud and Lewis Carroll. Dreams are misconceived as just a version of reality with some CGI tricks and so we move through conceptual layers rather than anything that might reasonably be passed off as subconscious states. Any ambiguity about what is real and what is dream merely has us guessing about whether any of Nolan's crafted layers of so called consciousness actually matter at all beyond supplying opportunity for clever-clever editing sleight of hand gimmickry.
To See Cobb (Di Caprio) and Mal (Cotillard)poncing about in their mental construct with a hand wave that its ordinariness is due to their fondness for modernist architecture (serial reiterations of skyscrapers worthy of a Hanna-Barbera loop)puts paid to any claim that we are witnessing the like of surreality we visit in our sleep. Dreams in this film are nothing but different locations arrived at by means of taking a pill. We sure don't get to see Wonderland.
All this leads us to wonder about the entire premise which turns out to be nothing more than a bunch of corporate malarkey. Absorption into the plot rather depends on the audience buying into the elaborately technical internal logic about who has to be where and doing what in various levels of a subject's mind to perform the exercise at hand. That's your mission should you accept it.
So if you happen to swallow the director's pill at the outset then Nolan's fake world will draw you in -James Bond's Impossible Oceans Infinity. Take the pill that powers your critical judgment and for a couple of ours you'll find yourself staring at some overblown money drain that invites you to consider the deception that marketing and production gloss can pull off.
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