Inception is the brilliant vision of the future where corporate espionage is administered through the human mind instead of the tangible environment. Leonardo DiCaprio plays Dom Cobb, a brilliant thief and fugitive who is very accomplished in the enterprise of extraction. He and his associates are the best at what they do. Their job is to essentially hack into the minds of powerful businessmen, via their dreams, to obtain secret ideas. As a way for Cobb to clear his name and pave the way to redemption, he takes a job for Saito (Ken Watanabe), a wealthy businessman who has commissioned Cobb and his colleagues, not to cull ideas from his rival, but to plant an idea – thus, inception. It is not so much the act of inception that prevents our hero from obtaining redemption but an outside element that prevents Cobb from carrying out his duty.
With amazing cinematography by Wally Pfister and film editing by Lee Smith, Inception brings to life a world in which dreams are not only within one’s mind but also exists on an entirely new dimension. Adding to that new dimension is the utterly brilliant and haunting score (which plays almost as a secondary character) from Hans Zimmer. With mind bending action, beautiful visuals, hallucinatory special effects and a break-neck pace, Christopher Nolan proves that, as a director and creative force, one does not need a comic book, a sequel or a remake to create a highly adroit and fascinating story.Continue Reading
As this year’s Academy Awards approaches I find myself trying in vain to understand how Public Enemies didn’t garner a single Oscar nomination. The film was gorgeous to look at, featured a career-best performance from Johnny Depp, and avoided the clichÃ©-ridden territory of the period piece biopic for something more ambiguous and relatively challenging. Was that why the film was a relative critical and box office disappointment? Clearly the film did not satisfy as Summer blockbuster entertainment. Universal Pictures didn’t quite know how to market the film and seemingly tried to sell it almost like a comic book adaptation a la The Dark Knight with a larger-than-life image of Depp in a trench coat and fedora, shotgun at his side, stretching the length of office buildings on the huge banner posters that draped L.A. prior to the film’s release. It didn’t work to sell the film because the film they were selling wasn’t exactly the movie that we got. It’s a movie with beautifully shot bank robberies, shootouts rendered in symphonic splendor, and plenty of compelling narrative, but somehow in its fly-on-the-wall approach to following Dillinger it left audiences cold.
That aforementioned coldness works both ways. Public Enemies is downright frosty and it’s to Michael Mann’s credit that he refuses to overdramatize the life of an infamous gangster in all-too-familiar ways. Let me explain myself. Mann gives us a completely new kind of period film. He junks the typical sepia-toned melodrama approach and instead, with his digital cameras, creates something immediate, taking us out of the realm of nostalgia and into a real world scenario that actually feels dangerous instead of merely nostalgic. If you are willing to accept the worthiness of this approach it is completely thrilling.Continue Reading