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New Sci/Fi Movie: Inception

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New Sci/Fi Movie: Inception - Crap or Not Crap

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Not Crap
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Total votes : 69

Re: New Sci/Fi Movie: Inception

Postby ImDADA on Thu Aug 12, 2010 7:39 am

I love it when something so simple can bring an entire film to its knees. It wouldn't have been quite as exciting though, could have wrapped it up in 10mins.
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Re: New Sci/Fi Movie: Inception

Postby dabrasha on Sun Aug 29, 2010 4:30 pm

Bit of a letdown; my fault for having expectations.

It's cool Nolan wants to be Michael Mann, but Michael Mann does Michael Mann better; never complain, never explain.

Gonna watch "The Keep" tonight and get confused with the master.
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Re: New Sci/Fi Movie: Inception

Postby seanurban on Mon Aug 30, 2010 5:06 pm

No way. Michael Mann is not sci fi and spec fx. I don't know what you were expecting ?
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Re: New Sci/Fi Movie: Inception

Postby ratite on Sat Sep 04, 2010 5:34 pm

OK,so I've only just seen it here in Japanland,having been away a couple of weeks over the Summer holidays.Above and beyond bear in mind that I'm as pished as as an ass,having drunken wholesomely after the viewing..However,I like me some Nolan,and would give a few thoughts...

The ending is a Hollywood one for Hollywood Audiences.

LDC had no totem for the whole film.(he borrowed his wifes that was derived from her experience or so he claimed) What is the meaning of totems and where was his!

His wife tried to attack everything,and everyone by stabbing and shooting in the film.LDC stepped on a glass in the B1 floor and a sound rang out,suggesting perhaps,he stabbed her.

His opening line is the "Power of an Idea",hence ideas create the world and futhermore ideas,can change anything.

His wife died from an "idea" he planted,or so he claims.

The film attempts to show everything from his point of view,given the multiple dreams.

Ariadne,who follows him deepest,to his wife,is the name of a Grecian labyrinth solver,whom might be needed to solve this crazy labyrinth that he has created for himself.

His Wife when exposed discussed his paranoia,capable of creating imaginary corporations who hounded him so he couldn't go "home".

Given the dark nature of Mr Nolans Films thus far,I suggest the following...

Either:LDC character killed his wife and has entered a fugue state trying to find resolution,ie: I didin't do it.And stilll has many layers to proccess but would rather find a happy one :Ala Lost Highway

Or else it's a Christian metaphor for the moment before death,his way of searching for absolution given that he has just committed suicide with his wife(or killed her),or else the more direct choice,given in the movie,it really is his fault for implanting the idea.

Or else it represents a mental frame the boundaries of which,we,the viewer cannot guess.Is it a virtual game,a mans dying wish,a mans dying raprochement,or something else...

I think the ambiguous finish tells us he is still at some undetermined dream level.The reason for his continuous searching is one of attempting to reverse or resolve/negate the realities of his actions.His children may be a cipher, of an unaffected state he wishes to return to.After all,the whole "idea" of his "going home",having gone through these experiences is faintly absurd.Excuse the freudianism...

The beauty of the film is it suggests the whole thing is just a part of his extended mentations on the matter.

Lastly to support my thesis,given,ideas can change the world and are the most efficacious virus,then if you wish to assauge the guilt you felt for killing your wife,you should employ new ideas that may resolve you.

However it may be just a good Summer thriller...and irrespective this makes it neither a good or bad film...but I liked it!
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Re: New Sci/Fi Movie: Inception

Postby ratite on Sat Sep 04, 2010 5:58 pm

Oh, and I forgot to suggest that the "Inception" of the title was conceived for LDC's character.Mind you I ain't read all them fancy reviews yet,I was waitin' to see them film...
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Re: New Sci/Fi Movie: Inception

Postby Luzwei on Mon Nov 01, 2010 5:45 am

At first I was:

Image

But after it:

Image

And ultimately:

Image
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Re: New Sci/Fi Movie: Inception

Postby WoundedFoot on Mon Nov 01, 2010 2:15 pm

Janessa wrote:Image


ImDADA wrote:I love it when something so simple can bring an entire film to its knees. It wouldn't have been quite as exciting though, could have wrapped it up in 10mins.


True. Sometimes you have to let the little things slide. It's a movie.

However, the whole reason for performing inception was not only so that Cobb would be able to see his children. There is also the political motive of crumbling Fischer's empire which would control half of the planet's energy. If you can plant ideas in the minds of the global elite, you can change the course of history.

Not Crap. Saw it for the second time a few days ago and I still love it. It's at Logan theater now.
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Re: New Sci/Fi Movie: Inception

Postby iembalm on Mon Nov 01, 2010 8:14 pm

Flick hasn't even made it to DVD and AMC is using the score for "coming to AMC" ads.
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Re: New Sci/Fi Movie: Inception

Postby Ernest on Tue Nov 02, 2010 12:37 am

Antero wrote:I don't give a shit what the "reality" of the story is. That's not what art is about. Art is not a crossword puzzle.


I get much more enjoyment out of this movie as a crossword puzzle, than as art. It would be too one dimensional without it.

Caution: pretentious curves ahead.

I just saw Inception for the first time. I'd like to say I waited until all the hype died down, but no, I was just waiting for a high quality leak of it.

As an action movie, or heist, I don't particularly care about it. It was fun. But if I look at it like a crossword puzzle, the story just becomes a lot better. Teasing out meaning, even if you have to invent it, is the fun part.

I'm thinking of the movie in Lacanian terms (albeit, my pedestrian knowledge of it); individuals attempting to reach not the real, but the symbolic order itself, out of the imaginary- the shared dream space, and all the levels it consists of, organized all on in the first class cabin; the symbolic order. At it's core, it really is a film about the psyche, not a heist/tech/love tour de force. All of it centers on DiCaprio's Cobb character. I think it's also a very good anti-individualist movie, if that makes sense.

Cobb's entire motivation is guilt which creates his wanton abandonment of any ethical considerations in operating. He's driven by the overwhelming urge to see his children, and to lock his wife, his conception of his wife, in specific memories, which he'll try to "fix". His inability to conquer the memory of his wife, his guilt, fuels the film. The suffocation within his 'job', this imaginary dream space.

It's anti-individualist in the sense that Cobb must rely on his team to accomplish both the mission, and to find their 'reality', but his anchor, his rational judgment is transferred to what's-her-face, Ellen Page. More importantly, it shows the extreme negativity not in being subsumed by another, but by yourself. Page's character becomes the materialist 'rock' when self absorption becomes unbearable, and he's unable to be the damn-hell-ass-king he ought to be. Cobb shared a dream space with his wife for 50 years, where they were the only living beings on the planet, or gargantuan city they created. It's his creation alone that almost dooms Cobb to existential despair within limbo, the same despair that drove his wife to commit suicide. It's the story of Cobb's escape of a suffocating mirror stage, in a way:

The mirror stage describes the formation of the Ego via the process of identification, the Ego being the result of identifying with one's own specular image. At six months the baby still lacks coordination (see Louis Bolk); however, Lacan hypothesized that the baby can recognize itself in the mirror before attaining control over its bodily movements. The child sees its image as a whole, but this contrasts with the lack of coordination of the body, leading the child to perceived a fragmented body. This contrast, Lacan hypothesized, is first felt by the infant as a rivalry with its own image, because the wholeness of the image threatens it with fragmentation; thus the mirror stage gives rise to an aggressive tension between the subject and the image. To resolve this aggressive tension, the subject identifies with the image: this primary identification with the counterpart is what forms the Ego. (Evans, 1996) The moment of identification is to Lacan a moment of jubilation since it leads to an imaginary sense of mastery. (Écrits, "The Mirror Stage") Yet, the jubilation may also be accompanied by a depressive reaction, when the infant compares his own precarious sense of mastery with the omnipotence of the mother. (La relation d'objet) This identification also involves the ideal ego which functions as a promise of future wholeness sustaining the Ego in anticipation.


He forces himself to acknowledge the truth of his situation, initiating his own catharsis, only towards the end, by fully realizing his wife is his creation, and not her herself, nor actual memory. He risked being completely subsumed by his creation, a stand-in for his Id. This is where Juno comes in; she's the newcomer, the one not jaded, or subsumed by her own urges (only because she's inexperienced). She doesn't even take what occurs as part and parcel of shared dreams, because other than Cobb, and the guy from Third Rock, she has no source, no forged connection yet. She is the rational being of the film, by default.

It's anti-individualist in the sense that, only through others, do you find both your own identity, and your way out; hell is no longer other people, but you yourself are, and by extension, truth is not found inside. A little antidote to America's fetish for individualism. The truth, both the truth of his personal experience, coupled with the imaginary dream worlds he's trust into, is outside of himself.

At worst this is my two cents that makes the movie more enjoyable for myself. It's only been twenty minutes since I stopped watching it, but I like my take on it.

Really, the only thing I didn't like about the movie was the inevitable post-climax scene, where everything was rushed because audiences can't stomach fifteen minutes after orgasm. Aside from the inconsistencies about dream sharing itself. They cut out how he gets to meet the now old Japanese guy.

I liked the James Bond in the arctic action scene, if only because it let us see how immature Tom Hardy's character was; out of all the dreams he could've picked, it was the flex-your-muscle, kill-the-projections dream that gave him a hard on. Joseph Gordon Levitt was excellent in it, he's the reason I took any interest in this because of his performance in Brick. His entire scene where he fights in zero gravity, and improvises a way out by tying the characters together was great.

I think the movie wrapped up nicely, and not in an ambiguous way. The final scene with the spinning top; it wobbles as if it will stop right before it cuts out. I like thinking it's a concrete ending because there have been way too many goddamn films that try for a final headfuck, and fail completely. Anyway, it doesn't seem like something Nolan would be into, this shallow version of "An Occurrence at Owl Creek Bridge". I fucking despise this kind of ending. Cobb meets his father, who winks at him because he knew of his Inception plan, and the headfuck he's been doing to himself about his wife, and it's finally over. Reality finally mirrors the imaginary; his last memory is where his new experience starts, with the kid's faces obscured. It's a much better fit than stupid-Matrix-Jacob's-Ladder-shit "wuddddifit'salladream!?"
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Re: New Sci/Fi Movie: Inception

Postby kerble on Tue Nov 02, 2010 3:13 am

They couldn't shoot for shit in this movie. what, they fired maybe 500 rounds in the last hour and hit the one dude once? ridiculous. I enjoyed it, but jesus, if those guys are trained dream shooters, then maybe they should hit something once in a while.

dude was sitting there, firing a gun at a stationary van and didn't hit anyone. so dumb.


I did like the movie. I give it a Not Crap, but christ.
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Re: New Sci/Fi Movie: Inception

Postby Schadenfreude on Sun Dec 05, 2010 2:06 pm

I don't buy DVDs or Blu Rays or Betamax but this comes out on all three on Tuesday and I might just get it.
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Re: New Sci/Fi Movie: Inception

Postby enframed on Sun Dec 05, 2010 10:36 pm

kerble wrote:They couldn't shoot for shit in this movie. what, they fired maybe 500 rounds in the last hour and hit the one dude once? ridiculous. I enjoyed it, but jesus, if those guys are trained dream shooters, then maybe they should hit something once in a while.

dude was sitting there, firing a gun at a stationary van and didn't hit anyone. so dumb.


It's a dream not of the shooters' creation.
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Re: New Sci/Fi Movie: Inception

Postby Chromodynamic on Mon Dec 06, 2010 3:33 am

Inception in real time.

Yeah, yeah, they should have the airplane in there as well, but that'd be boring.
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Re: New Sci/Fi Movie: Inception

Postby Rimbaud III on Mon Dec 06, 2010 5:48 am

It's an entertaining (if a little daft) movie, but really, it's time to stop patronising the audience with hammy dialogue and endless exposition.

AND HEY, HANS ZIMMER, WRITER OF THE 'GOING FOR GOLD' OPENING THEME, WE GET IT. THIS IS A TENSE FILM. STEP AWAY FROM THE TRITON. Seriously, the score - which I quite liked - was relentless! Was there any point in this movie where it let up? And why the tit was it mixed so damn high?
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Re: New Sci/Fi Movie: Inception

Postby RBoyer on Wed Feb 09, 2011 6:09 pm

I found this truly boring, with cliched characters and too much emphasis on "the twist" and style over substance.

I just could not give a crap about the characters.
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Re: New Sci/Fi Movie: Inception

Postby Bernardo on Sat Feb 26, 2011 4:05 pm

This was definitely an experience, and I miss not having seen it at an actual theater. It's like an Escher version of an action film, which I think is a good thing for what it is. It's full of little plot holes that I didn't mind at all, I think they're al beside the point. I find it interesting that 90% of the criticism on the movie here focuses on plot, btw.

I hope to eventually be able to articulate why I think it's insane that movie viewers now discuss the "likeability" (word?) of characters as a critical point of films, as if they're trying to be the target audience and the marketing team at the same time, angry that they couldn't be fooled.
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Re: New Sci/Fi Movie: Inception

Postby mrdfnle on Sat Feb 26, 2011 4:13 pm

I watched it four G.D. times. It's supposed to be a kickass action flick. But no I got issues.

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Re: New Sci/Fi Movie: Inception

Postby Chromodynamic on Sat Feb 26, 2011 7:28 pm

This seemed like the most appropriate place for this hilarious manipulation of Ellen Page/Joseph Gordon-Levitt

Image
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Re: New Sci/Fi Movie: Inception

Postby Dr. Ew on Sat Feb 26, 2011 11:59 pm

This appeared to be a far more mindbending and baffling film before I discovered that I'd slept through at least 15 minutes of it.
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Re: New Sci/Fi Movie: Inception

Postby dontfeartheringo on Wed May 29, 2013 2:19 pm

kerble wrote:They couldn't shoot for shit in this movie. what, they fired maybe 500 rounds in the last hour and hit the one dude once? ridiculous. I enjoyed it, but jesus, if those guys are trained dream shooters, then maybe they should hit something once in a while.

dude was sitting there, firing a gun at a stationary van and didn't hit anyone. so dumb.


I did like the movie. I give it a Not Crap, but christ.


This movie annoyed me, too, just like most of them do.

But, in defense of bad movie shooting, you should watch this:

http://www.youtube.com/watch?v=WlSCE88UhyA

4 minutes, 145 shots exchanged.

more here:

http://en.wikipedia.org/wiki/1986_FBI_Miami_shootout
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