Christopher Nolan strikes again. For every brilliant idea there’s a baffling decision lurking. Batman Begins, Nolan kick starts a new era of gritty film adaptations with style and as much as he tries to sabotage the project by casting Katie Holmes, almost outdoing Sofia Coppola’s single handed razing of The Godfather: Part III, the film is a success. The Dark Knight emerges a few years later and Nolan has decided to relocate Batman to Boston; the Gotham so consciously created in Begins – the Narrows, Wayen Enterprises and its monorail, Wayne Manor (blown up, I know) – is replaced with a city, any city. Gotham, arguably the Batman franchise’s most important character, save the Bat, one of popular cultures most iconic cities is sterilised and all sense of geography is lost. The Prestige, probably my favourite of Nolan’s films, he decides to take leave of reality and introduce a magical replication machine half way through – jarring stuff. Thankfully, on repeated viewing this sudden abuse of reality is less of a shock and we are left to revel in the real horror of Robert Angier’s sacrifices. And now to Inception.
It is essentially a heist film – think Ocean’s 11 without the suave or humour but with epic visuals, creativity and its own style. The rules of the dream are laid out for us, although there is a signature Nolan move when one of these rules – that death wakes the dreamer – is completely undone when it comes to the heist, and although this clinical approach makes events easy to understand it also makes the film strangely impersonal; a logical breakdown where every character is a known quantity. Even the unstable Cobb (DiCaprio) plays out his part in a rather predictable manner, this is not helped by the strange and needless decision to start the film with a scene from the end of the film. There are a couple points where supporting characters almost break through and reveal some depth but these moments are quickly pushed aside. That’s not to say the film isn’t immensely enjoyable while it lasts. However, beyond the spectacle there is little that is memorable. The realm of dreams is wasted – none of the depth seen in, for example, Eternal Sunshine of the Spotless Mind, is there (‘Limbo’ the potentially fascinating idea of the communal and fixed dream space is only tortuously hinted at).
There have been accusations that this film is difficult to understand – it isn’t. Is it complicated? Not especially. Is it deep? Nowhere near as much as it should be. Is it enjoyable? Very much so. Forgettable? Beyond the dazzle I’m afraid in time it might just be.
5 out of 8