* * * * * * * * *
Star Cross'd Destiny Forums
Star Cross'd Destiny Forums
August 02, 2010, 09:50:25 pm *
Welcome, Guest. Please login or register.
Did you miss your activation email?

Login with username, password and session length
« previous next »
Pages: 1 ... 13 14 [15]
Topic Tools  
July 02, 2009, 07:17:02 pm #210
matrim

Re: Rewind. Or, what movies have you seen lately.

going to see the new transformers soon. and i really want to see public enemies. so yeah that about covers it right now.


In the night the shadows call
In the shadows one and all
The Dragon's four arise this night
Fire, Water, Earth, and Light

Long Live The On-line Revolution!!!!!
 
August 12, 2009, 04:52:02 pm #211
dark_arkangel

Re: Rewind. Or, what movies have you seen lately.

the last one of harry potter against my will TT__TT




you just fuck the wrong mexican
 
August 21, 2009, 07:01:35 pm #212
matrim

Re: Rewind. Or, what movies have you seen lately.

I want to see it... but at the same time i don't. but i'll buy the DVD so i can say that i own all of them.


In the night the shadows call
In the shadows one and all
The Dragon's four arise this night
Fire, Water, Earth, and Light

Long Live The On-line Revolution!!!!!
 
July 25, 2010, 10:29:28 pm #213
Bev

Re: Rewind. Or, what movies have you seen lately.

Inception

It's been nearly a week and I still can't stop going over the events of this film in my head, and not many movies can do that to me. Christopher Nolan's latest effort is more akin to his thrillers Memento and The Prestige, than his Batman films, although this time he's successfully merged the action from the latter with the thinking mans story from the former. Unlike the rest of the planet, I thought the Dark Knight was missing something, I couldn't quite tell what that something was but it always felt like the story was 2 steps behind the action and the movie just sort of propelled itself along without any sense of cohesion. Although Inception suffers from the same problem in parts, it's a much more well-rounded experience that has eliminated most of the tiny flaws in Nolan's previous efforts to create his most exciting and thought-provoking film to date.

In an effort to avoid spoilers I will only outline enough to wet your appetite. The story follows Cobb (Leonardo DiCaprio), a master thief with a difference, his job requires him to steal ideas from people as they sleep, using a futuristic (yet unexplained) device that allows him to enter the dreams of others. After being confronted with a deal that would allow him to return home to his children (his crimes are not explained right off the bat), he takes up the offer and sets out to build a team to pull off a task that no-one has successfully managed before. The job, to plant an idea, instead of taking one, into someone's head.

The film moves fairly slowly at first, incorporating elements of heist films as Leo's character searches the globe for old and new faces to make up his team. The back stories are kept to a minimum as Cobb picks up an architect (to shape the world of the dream and keep the subject confused), a chemist (to administer the drugs that will keep everyone sleep), a forger (to pose as someone the target trusts), Cobb's right hand man Arthur, and his employer Saito, who wishes to oversee the operation. While it may seem strange that we get nearly no history of these characters, it works well within the context of the movie, as these people will only be working on one job together and wish to operate on a purely professional level. Picking up the slack is Cobb's back story, which makes up the bulk of the emotional side of the film, as he comes to terms with his past and tries to stop it from ruining everything in the present.

The acting is serviceable from all involved, as I stated the film isn't big on emotions so you wont see anyone crying or yelling, they're too busy running. DiCaprio plays his character Cobb as a shut-off man, trying to bury his feelings and his past instead of confronting them. Joseph Gordon Levitt, as Cobb's right-hand man Arthur, proves that he's got the acting chops to move from child-star to nearly-leading man, handling all of his action scenes just as well as his dramatic ones. The only voice of reason in the film comes from Ellen Page, finally shedding her teenage image and acting her age, as the architect who seems to be the only one aware of how much Cobb's past is in danger of screwing up the job. Everyone else works here, with Nolan knowing how to wring great performances out of up and comers, Tom Hardy, Dileep Rao and Marion Cotillard, as well as the oldies, Tom Berenger, Ken Watanabe, and Michael Caine.

The visuals and sound design are the real stars of the show though, with all but one shot in the film coming off as utterly believable. Apart from said funky effect, I never once stopped and thought I was looking at a computer generated world, and this is mostly thanks to Nolan's insistence on traditional effects work. Most of the effects shots are done on-set and this helps to build a more believable world and pull you into the action. Anti-gravity scenes are done with rotating sets and wire-work, real trains are driven right through the middle of city streets, and apart from a set-up scene and the climax, most of the time spent in the dream world looks like the real world. The sound work on top of this creates a great sense of unease as you're constantly reminding yourself where you are within the context of this ever-shifting plot.

The story, which has taken over 10 years to write, is a labyrinth of dreams within dreams and shifting scales of time. I'll leave it to the actual movie to explain the dream world better, but suffice to say it all makes sense within the boundaries that the film sets up. It's only towards the end that things get a tad confusing, with a poorly explained plot device that has left me trying to work it out ever since. Whether this was intentional or not in unknown but as I stated early in the review, very few movies will have me still thinking about them days after the credits roll. Given the nature of the ending, there's bound to be alot of discussion, which is why I implore everyone to see the film as soon as possible, before someone ruins the ending.

The same pacing issues that plagued Batman Begins and The Dark Knight are still present here but in a much more diminished form. After a rather slow first half the film really picks up, and takes you on a hell of a ride right up to the end, and I can tell more than a few people had to catch their breath after the climax. I have to give credit to Nolan though for pacing Inception in a way that no other film has done before, and trying some genuinely new things. Apart from a few obviously plagiarised ideas from the Matrix and Existenz, everything here feels fresh and sets the standard for intelligent action films to come. At no point did I ever feel like the movie was pandering to me, or spoon-feeding me information, and it's a joy to finally be treated like an adult by film-makers who obviously felt like audiences are smarter than Hollywood gives us credit for.

Inception does for this genre what The Dark Knight did for comic book movies, setting the bar so high that it's doubtful anyone will top it for years to come. It has almost all the hallmarks of an instant classic and despite having a few small flaws, it deserves to be hailed as such. In my books it's not quite perfect, but I'm sure others will be more forgiving, and it still doesn't take away from the fact that this is Christopher Nolan's best film (only JUST above The Prestige) and things can only get better from here. The fact that audiences are rewarding such good ideas with their money gives me new-found hope that directors will finally start trusting that they can have a smart story and thrilling action in the same film.

9/10


STUFF!!!!
 
Pages: 1 ... 13 14 [15]
Jump to:  

theme_by Webtechnica.net
MySQL PHP Powered by SMF 1.1.11 | SMF © 2006-2009, Simple Machines LLC XHTML 1.0 CSS