Marcus: Inception (2010)

            After seeing “Inception” I left the theatre with a sharp headache directly behind the eyes. It wasn’t until a little later that I noticed that the pain was due to Christopher Nolan ramming his penis down my ear canal and having his way with my brain, and Christopher Nolan was not a tender lover. He is not a tender lover for two reasons: one is that he never holds back, he always hits you as hard as he can with whatever he’s got, and two, he’s a little bit sloppy.

            Now before you all go and change your Facebook statuses from your favorite song lyrics to “I can’t believe this guy!” let me stop you because A) that statement has no context and people won’t have any idea of what the fuck you’re talking about, and B) I didn’t say the movie was poorly made, I just thought there were a few parts that were too ambiguous. Clearly the purpose of the movie is to have the audience decide for themselves what is truly reality and what is just dreamed up by the characters, but at times, rather than being presented with a simple fork in the road with one theory leading one way and a second theory leading the other, we’re dropped into an orgy of intersections branching this way and that demanding we choose one to follow. And God forbid you realize the one you thought was true actually wasn’t, because you can’t go back. You may think you can retrace your steps but by then you’re already lost and have no chance of catching back up with what’s going on.

            Wait, we’re still talking about Inception, right? Right. Or maybe we’re all just dreaming about it! But seriously, I love a movie that gives the brain an old jogging, but some guidance is always required to keep some of the stragglers at least in the same ballpark, give them free total boundless initiative to say what’s going on, and you’ll get a few nuts saying the movie’s tied to the JFK assassination somehow, or, even nuttier, the Robert Kennedy assassination.

            But returning to the concept of Inception, Christopher Nolan needs to get a better understanding of his target audience. The film works very similarly as “Memento,” Nolan’s beautifully crafted story of an amnesic protagonist told in reverse. That movie was first shown at the Venice Film Festival in September of 2000 and put on wide release the following March. If a movie is said to be thought provoking, then it will draw a thinking audience, people who want the mental stimulation. When a movie is released as a summer blockbuster, as Inception was, it will draw a different sort of crowd. A large part of summer blockbuster audiences are illiterates and Twilight fans, and in some horrifying cases, people who are both. The blockbuster will still rake in the cash, as “Inception” did, but the question nagging me is, was the true artistry of the film fully appreciated? Did everyone really get it, or was it a movie that only got multiple viewings just so people could watch it again while high? Judging from all the moronic online responses immediately following the film’s release, Facebook posts like, “Whoa, ‘Inception’ blew my mind,” or “Whoa, ‘Inception’ was trippy as balls,” or, “WOOOOAAAAAINCEPTIONOOOOOAAAAHHH!” I’d have to say it was the latter.

            All in all, Inception is great. It has gripping visuals an engaging plot and it’s well paced. The casting is wonderful too, although I will admit I don’t understand the appeal of putting Marion Cotillard in an American blockbuster. I get that she’s a beautiful woman and a talented actress, but she gives off the vibe that she belongs in foreign art house productions. I always feel she’s out of place in American blockbusters even if she’s not playing an American. I don’t know, that’s just my bias. The cast is great and the end of the movie will have you questioning and rethinking all of what transpired, at least, it should do that. Otherwise I don’t know what to tell you except, I hope you enjoy “Breaking Dawn.”