REVIEW - Inception: disappointment
Inception, the last Christopher Nolan, n' is perhaps not a film of dream. Critical. Christopher Nolan, after having given to Warner the largest success of its history with The Dark Knight, wants to republish a planetary holdup with Inception. This film of mental break-in is, contrary to the rumours, d' a limpid clearness, so much in the content (one does not make a blockbuster with a scenario imbitable) only in the form. Some here said all the good qu' they thought of this opus impressing and it would be odd d' in saying evil seen l' critical unanimity. And yet, Inception n' is neither new Matrix, nor an innovative thriller astounding d' originality. Just like Memorandum or The Prestige, the easy ways of scenario and setting in scene can also be seen like mask-miseries. Be prevented: sold like new Matrix, Inception n' is for certain qu' a banal film of breakage. Against the doxa, here are five points which really displeased with our criticism. You are d' agreement with him? Qu' do you have think of film? A d' chief; works or a series B inflated with cortisone and very over-estimated? By Picardy Sylvestre. 1. Human puppets the most obvious defect d' Inception they are the characters. Let us take Dom Cobb (DiCaprio), hero without savour nor originality: haunted by mourning, it makes a last mission nevertheless (like always), that which nobody can make a success of. Guess what? At the end, it succeeds. Let us specify that DiCaprio carries a goat, as in Infiltrated, Mensonges d' State, or Blood Diamond. Its character will be thus a hooligan vaguely borderline. As for Marion Cotillard, Nolan sows indices around d' it: the song " I do not regret rien" d' Edith Piaf passes in loop during film. History to point out the planetary success of the Marion kid? Or to recall that Cotillard is the small one been engaged of French? Supporting roles, well qu' interpreted by formidable actors, are only drafts. Example: the competition enters formidable Tom Hardy and Joseph Gordon-Levitt n' is exploited at all. The palm: Michael Caine, who comes to pay her provisional third in a role with the nut (which can be summarized as follows: " Dom, you responsible for died for my daughter, and you come to ask me for a service: no the concern! " ). Seul Cillian Murphy draws truly its pin from the play: but good, its d' role; heir d' an industrial empire in conflict with his/her father is completely truncated, and the film s' complete just at the time when it becomes interesting. And not, you do not dream: c' is well Tom Berenger (Sniper, Sniper 2, Sniper 3) who, in the role of the uncle of Cillian Murphy, is caught for Marlon Brando. 2. Died with the new flesh the world d' Inception does not know any more violence, the pain, blood. N' death; is qu' an exit of the play. As in The Dark Knight, where the wound d' Harvey Tooth n' was qu' a numerical effect. As much to say that the flesh n' more d' has; interest. Cronenberg de Videodrome and ExistenZ is buried. In Matrix also, all ended up being reduced to the body, stake of the battle between men and machines. Which interest with the scenes d' action, then? How to tremble for the heroes when qu' is known; will a ball in the flask do nothing but awake them? The credibility of suspense takes one of them crowned blow. Nolan, here only with the scenario, n' has more its comparse David S. Goyer (Co-scenario writer of Batman Begins and Dark Knight) to balance the quota geek script. One had rented Nolan for his talent d' equilibrist enters purism geek and consensual legibility (Batman, once again). Here still, it has the bottom between two chairs and arrives to flouer everyone. 3. The world is not enough L' one of the arguments of film was that the world of the dreams n' was not one is delirious psychedelic as in The Cell of Tarsem Singh. Too bad: seen like that, the world of the dreams is completely soporific, with force d' to align bars HLM. In Inception, all is absurdly gray. " Gray, gray, grrrrrrrrris" (Beckett, End of part). Inception and its echoes transhumanists depict the world of the dreams in a quite sad and uniform way. Rooms d' hotels impersonal, cabins classifies business into 747, bases secret gray lost in snow, the decorations are lost between the insipidity of the gray and the white, image d' a desire of purity, this " vitriol of l' âme" (Michel Tournier). Lastly, one will hardly know why turning s' is stray between New York, Japan (a sad beach), Morocco (a cliff and a full street d' riot) and Paris (only recognizable city), so much the places interchangeable and, once again, are deprived of specificities. 4. L' illusionist It is necessary to recognize, in these periods when l' one converts the blockbusters into 3D with all goes, with the contempt of the work of the directors of the photograph, qu' Inception is located at years lights of the large productions. The level of detail is to be fallen by ground, the incredible depth of field But for what is this large artillery used? Most impressive scenes n' do not have d' narrative support. Lorsqu' ARIANE (Ellen Page) learns the rules from the construction of the dreams, the scenes are incredible. but free: d' agreement, to see Paris folding up itself literally is completely nutcase. But is that used for what? One will not see it making the same juggling acts during the last third of film, where the scene more the nutcase remains the combat in weightlessness, which n' does not have the guilty side pleasure of the original bullet time. 5. End of Conclusion part: Inception is terrible swindles. Then, certainly, the cinema is always l' art of l' swindle, to make us gober tricks not possible. But the best swindle are those in which one replonge always with delight. With l' image of its final plan, so roasted on ten thousand terminals qu' there is shame to see it, Inception will not support his second vision.


