Inception

Inception pretends to be super clever. Through astonishment over the hitherto unseen, it gives the audience a consumerist, comfortable feeling that everything in the movie makes perfect sense. If it had contained any real emotion and some sort of message, drawn its sense of fatefulness and urgency from the story instead of from Hans Zimmer’s awesome, robust music, and enabled me to connect with the characters instead of leaving me in awe of their magical dialogue, I might have succumbed to the tempting feeling of perfection and awe of an extraordinary filmmaking event. But there is no more of these key cinematic values in this film than there is life in the image of monotonous grey skyscrapers in the background of Cobb and Mal’s fifty-year-long dream. Inception thus remains “just” an incredibly spectacular Matrix-like pose. (22/07/2010)

I'm honestly glad for that light doubter prickle I went to see the film with. The beginning is undoubtedly a great, complex and ambitious work, but from my point of view it did not overcome Nolan's two previous masterpieces. Unlike The Prestige, it is strictly linear and lacks the great narrative finesse that will make me feel good even after watching it many times, and unlike The Dark Knight, it lacks that monumental fatefulness. The idea is brilliant, but the script says everything important from the very beginning, explains too much, and surprises too little. Jonathan would definitely help. And the other thing - DiCaprio plays exactly the same character as in Scorsese's Shutter Island. In exactly the same way. Regardless, these two things pulled me out of the sweet dizziness that so many people had succumbed to. (23/07/2010)

A perfect delight for Nolan's pleasure. What this directorial master has most enjoyed in his films, he enjoys to the very last second in Inception. Whether it's the main character full of internal conflicts in an environment much larger than himself, ambiguous conclusions, or, not least, several plot lines alternating at the center of the action (this delight, so proven in The Dark Knight, is taken to the furthest possible maximum here). In short, we are getting all the tricks that have ever made us shake our heads - in one impressive package that wraps around you so tightly from the first few minutes that there is nothing else to do but hungrily follow the fateful story threads. And when Leonardo DiCaprio finishes his acting megaperformance and Hans Zimmer finishes the music, it is clear. A new movie life-changer has arrived. (22/07/2010)

Christopher Nolan really nails it! Fantastic direction, perfect music. A film that surely messes with everyone's head. Even in the cinema you could tell how excited everyone was and how would love to see it again. Therefore, I join the opinion that this film is a drug and deserves the highest rating. A full 100% and more. (04/12/2010)

It's a good movie, but it has its flaws. I think the most annoying thing was the frantic camera work, where at times I wasn't sure what it was actually trying to show me... When I walked out of the cinema from Nolan's previous film, The Dark Knight, I had a very different feeling. A sense of fulfilment, a feeling that I had really seen something. Unfortunately, that feeling didn't come this time. Yes, I could discuss this film for hours and hours (and during that time, I'd incorporate my knowledge of Murakami's book “Hard-Boiled Wonderland and the End of the World", which would certainly be nice), but to have to watch it again because of that? Nope. Yes, totally interesting idea, good story, but I have no idea what I'm taking away, if anything. Just the knowledge that I've seen a good movie. And I certainly don't consider it the movie of the year. Still, definitely check it out, because it's worth at least one viewing – preferably at the cinema (even the home one :-)). (23/08/2010)