Inception

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No spoken words said:
Well, I agree with what you say, JT, but that's balanced out a bit by a shit-ton of exposition as the film progresses. Not saying that I had major issues with that, and in some respects a lot of it is necessary....but, a lot of the dialogue is dedicated to explaining the mechanics of how dream extraction and inception work, etc.

As a more global statement, I'll say that I do always like when a book or film drops you into its world and does not immediately explain every single thing....I like when events unfold, be it slowly or otherwise, and you begin to fill in some or all of the blanks of the world you're thrust into. And I guess that sort of points to why I always have and likely always like the sci-fi/fantasy genres, because they are both rife for world building/exploring.

/deigning to address JT
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Fear is the mind-killer.

Page 19, by the way.
 
The Baron, Feyd and Piter were introduced when I stopped. There'll be a lot of readin' on my 4-hour flight back home.
 
No spoken words said:
Well, I agree with what you say, JT, but that's balanced out a bit by a shit-ton of exposition as the film progresses. Not saying that I had major issues with that, and in some respects a lot of it is necessary....but, a lot of the dialogue is dedicated to explaining the mechanics of how dream extraction and inception work, etc.
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Indeed. Ariande seemed to function only as a means to give information to the audience. She could've easily been more experienced in the process like the rest of the team, but then we would've been in the dark about the mechanics of the dream world, so it didnt bother me a whole lot either. I dont see how they could've gone about it any differently. But a shit-ton of exposition, indeed.
 
Jive Turkey said:
Indeed. Ariande seemed to function only as a means to give information to the audience. She could've easily been a more experienced in the process like the rest of the team, but then we would've been in the dark about the mechanics of the dream world, so it didnt bother me a whole lot either. I dont see how they could've gone about it any differently. But a shit-ton of exposition, indeed.
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Ariadne does have to suffer the load of being the audience by proxy, and the impression that I've gotten from reading reviews/thoughts is that she's almost purely reactionary, but at the same time, she does take an active role in trying to uncover Cobb's neuroses.

The exposition at the beginning I felt was necessary, absolutely. As the film and the mission progressed, the characters still kept railing off what they had to do instead of just doing it. By that point, the basic mission was clear enough and the visual dynamics were established to a point where the constant reminders of the stakes weren't necessary.
 
LMP said:
As the film and the mission progressed, the characters still kept railing off what they had to do instead of just doing it. By that point, the basic mission was clear enough and the visual dynamics were established to a point where the constant reminders of the stakes weren't necessary.
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hmm, I'll have to keep that in mind when watching it again. I dont recall it bothering me too much the first time through, but for much of the movie, I was so engrossed in the visuals, I probably let it slide. But if that's the case, its a shame they feel the need to hold our hand so much. I suppose that shows how little faith film makers, or at least studios, have in the intelligence of today's audiences (to some extent, I don't think they're wrong)
 
Jive Turkey said:
hmm, I'll have to keep that in mind when watching it again. I dont recall it bothering me too much the first time through, but for much of the movie, I was so engrossed in the visuals, I probably let it slide. But if that's the case, its a shame they feel the need to hold our hand so much. I suppose that shows how little faith film makers, or at least studios, have in the intelligence of today's audiences (to some extent, I don't think they're wrong)
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It didn't deter me from enjoying the film much either, but I was aware of it. I wonder how it'll affect future viewings, too. Maybe it was the best choice to keep a mass audience involved; I don't remember it being an issue in The Dark Knight though.
 
Jive Turkey said:
We really have no idea how the dream machines work, where they came from, how long they've been around, etc. There isn't even a single mention about the technology. It's just accepted that they exist. Without them, there would be no movie, but beyond that, they really play no role
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The IVs reminded me of hallucinogenic drug users.

From wikipedia on Ketamine:

"Users have reported intense hallucinations including visual hallucinations, perceptions of falling, fast and gradual movement and flying, 'seeing God', feeling connected to other users, objects and the cosmos, experiencing psychotic reactions, and shared hallucinations, and thoughts with adjacent users."
 
No spoken words said:
And I guess that sort of points to why I always have and likely always like the sci-fi/fantasy genres, because they allow me to escape my pathetic, mundane life, and enter one where I can imagine myself as some kind of warrior king or intergalactic time agent.
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Sounds like you have a pretty good sense of self there.
 
I saw this movie opening night, and saw it yesterday afternoon with my parents and last night with my friends. I love it. I can't stop thinking about the film - the plot, the character development, the acting, the script, the music, the fight scene in the hotel, everything about it is amazing.

I haven't been this infatuated with a film since I saw Matrix 12 times in theaters.

One of my favorite of all time.
 
Finally saw it and pretty much loved it! What beautiful film-making.

The only character/actor I didn't care too much about was Ariadne/Ellen Page. I should preface this by saying that for the entirety of Juno I wanted to punch her in the face so it's possible I came in with negative feelings. But I think she was not on par with the others and also Cotillard is so stunning and gorgeous and luminescent that she outshone her literally visibly in every scene they had together.

My mind tells me that the totem falls over. My heart thinks it keeps spinning. I'll have to see this again.

Mostly I loved the Paris streetscape and am super pumped that I'll be there before this week ends. :)
 
U2Fan101 said:
Also, check this out about the music, this just makes the film even more creepy -

YouTube - Inception Music Comparison
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WOW, that's pretty brillant it if was intentional!


BTW: I can't believe I'm saying this, but it was even better the second time around. I wasn't as mentally exhausted trying to keep up, I was nice and relaxed, enabling me to catch things I missed the first time around. Glad it's #1 for a 2nd week in a row :)

I now believe that Cobb probs wasn't dreaming, his wedding ring was is totem not Mal's top. He wasn't wearing it in the final scene, which means he wasn't in a dream
 
OrARoundabout said:
WOW, that's pretty brillant it if was intentional!


BTW: I can't believe I'm saying this, but it was even better the second time around. I wasn't as mentally exhausted trying to keep up, I was nice and relaxed, enabling me to catch things I missed the first time around. Glad it's #1 for a 2nd week in a row :)

I now believe that Cobb probs wasn't dreaming, his wedding ring was is totem not Mal's top. He wasn't wearing it in the final scene, which means he wasn't in a dream
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Are you sure? Nolan does a clever job hiding the left hand from view in that last scene. I haven't been able to get a clear look as to whether the ring is there or not.

Going a 5th time tomorrow and 6th time Wednesday. Best film I've ever seen. Hands down.

This is a theory from Nolanfans.com forums: There's are three scenes out of the entire film that kept me wondering the most. One is the opening scene, the 2nd is returning back to the opening scene later close to the end of the film, and the scene finale.

At first glance, the limbo scenes appear to be a continuation between the two. How I found odd is that the dialogue is slightly different. After watching this film 3 times with an intent on paying close attention to the two scene of them in limbo, I came to the conclusion that they ARE indeed two different scenes altogether making it appear as if they're one continuous scene. In other words, it's a REOCCURRING DREAM between the two. Evidence of this is directly from its dialogue. Saito begins off the 1st scene as saying "you come here to kill me?". However, on the later scene he begins off saying it differently "you here to come kill me?" Same words, but different arrangement. Then Saito in the 1st scene starts of remembering a man from a "half remembered dream". However, in the later the movie the conversation is different with Saito starting of saying he remembers a man, but only this time Cobb finishes his sentence by saying "from a half remembered dream" as if Cobb remembers this conversation before, and then continues on finishing Saito's sentences from here on out until realizing that they're indeed in limbo.

I believe those two scenes are an allegory to purgatory. Cobb and Saito are awaiting for their ultimate fate, and each time the same dreams of them in limbo reoccur. I believe the final scene is Cobb's mind being brain dead due to his inability to escape from limbo and his final dream is him approaching heaven or an allegory to heaven. If anybody knows the story about Jacob's ladder, it tells you that Jacob fell asleep and had a DREAM that he climbed a ladder that reaches to heaven. I believe that's exactly what happened to Cobb.
 
lazarus said:
Not sure if that's exactly who you want to share your tastes with.

And what's your favorite film, GAF?
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Toy Story 3's in the Top 10, too? Jesus Christ. I know it's all about mathematics and numbers of votes and stuff and isn't reflective of the films against each other, but that's still ridiculous. Shawshank being #1, while I do like it, doesn't surprise me in the least though.

RedRocksU2 said:
:argh:
I need to go see this movie so that I can be in the know
:argh:
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You're letting them win.
 
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