The End of the Page

Inception: Dream A Little Dream In Me

I’m going to win this Dreidel game if it’s the last thing I ever do.

Rating: 9 out of 10

Everyone fears the sophomore curse, when you break out of the gate in any type of popular media with something so unique, so gripping and so monumentally accepted by the ravenous public that you set the bar high into the stratosphere, making it impossible for your second creative effort to even bask in the reflection of that initial glory. It frightens each and every person stepping out of the shadows and into the spotlight, but there is a misconception lingering making people feel safe after they are past their second credit. The cold, hard fact is each and every time you release something out to the public it is another audition to the world. If your newest effort becomes known as the best of your career, congratulations my friend, welcome back to the curse. It’s been right here waiting for you. Christopher Nolan felt the sting of the curse after his breakout indie darling, Memento, which he followed with a poorly timed remake of the chilly psychological thriller, Insomnia. Yet Nolan fought onward and grabbed hold of the frayed cape of the Batman franchise and resurfaced with a much more dark and gritty take on the legendary crusader in Batman Begins. This inevitably led to his crowning achievement in the comic book sequel, The Dark Knight, where the world witnessed the true beauty of a director and actor, in Heath Ledger, creating something that will be remembered and talked about for generations. As the accolades for The Dark Knight poured in, Nolan found himself right back in the lap of the curse, plotting his escape, scanning the horizons for a safe way out. Turns out, he found his escape not by looking outside, but by turning in.

Inception is the name given to a procedure where a person with incredibly specific skills and equipment can enter someone else’s dreams and gently plant the seed of an idea, which would then flourish and grow in that person naturally, culminating in the subject doing exactly what you wanted them to. Most believe it can’t be done, but one man, Cobb, says it is not just possible, but he’s done it before. Hired for one last job, Cobb builds a team of people to help him complete his mission and try to win his ticket home to his children.

The out and out winner here is the writing. While the directing and acting, which will be mentioned later, are both up to par, the writing of such an intricate, delicate and verbose script is an achievement worth high recognition. People are already talking Oscar race for this film, and while I might be on the fence right now in the Best Picture category (we still have quite a few months to go people), in the arena of Best Original Screenplay, this should be a shoe-in. Nolan is truly at his best when dealing with fragmented and fractured realities, achieving a tender balance between intrigue and confusion that makes the audience think, but not feel stupid if they all come up with different answers at the end. As for the ending, I’ll leave that for later, loudly hidden behind the spoiler warnings.

Moving onto the acting, Leonardo DiCaprio, who played our anti-hero Cobb, once again brims with sheer determination and builds layer upon layer into the role. The only fraction of a flaw in his performance in my eyes is it bordered on being too controlled. At times there felt perfect opportunities to let him fly off the handle or just peel back one more layer, showing his humanity, but the importance of the job and the need for sharp and complete focus kept him tightly wrapped up. Tom Hardy, playing Eames, the wise-cracking master thief of the group, steals many of the scenes not only due to his skill as an actor, but because he provides the only comic relief in the film. Joseph Gordon-Levitt, as Aurthur, brings back a little bit of his steam-train determination and tunnel-vision drive that he perfected in Brick. Overall all the performances were on point, but in the minority there were two people that I felt were under used and under developed, Michael Caine and Ellen Page. Caine is a tremendous actor that felt totally wasted in a partially unexplained cameo part (he’s mentioned as the grandfather to Cobb’s children, but it is never illustrated whether he is Cobb’s father or his stepfather.) As for Page, while they try with one line of dialogue to cover over her rapid acceptance of the world of dreams and being able to control them, she still ends up feeling rushed into the story more as a person to move the plot than a full fledged character.

***SPOLIER ALERT – SPOILER ALERT – DO NOT READ AHEAD IF YOU HAVE NOT SEEN THE FILM***

Now let’s talk about that ending. While I really do enjoy a nice ‘leave ‘em hanging’ closer, I think people are reading way too much into it. Yes, the top was still spinning, and yes the idea was to make you wonder if Cobb is still in a dream at the end of the film, but the theory that the entire movie was all a dream inside Cobb’s mind, showing his own journey to release himself of the guilt of pushing his wife to suicide, well, that just doesn’t sit right with me. The ‘whole dream’ theory robs the movie of all its importance and power and steals all the thunder from the other characters. I prefer to believe the top would have fallen in time; it was just really well balanced.

The End of the Page Recommendation: Nolan is on a hot streak that could see him crowned as one of the greatest directors in our generation, but let’s not pressure him too much, right? Inception is clever, intriguing and everything you want in a psychological drama, even if it draws a little long at the end. Worth seeing, if only for the ensuing discussion you will have immediately after.

What did you think of the ending? Does this top ‘Dark Knight’ for you?

The Dark Knight: Shadows and Mastery

[Click on the poster above to go to Art.com and buy the poster]

(Just no words)

This was what we’ve all been waiting for. The weekend to end all others this summer, most likely the year, possibly even years to come. The moon shone down on theaters nationwide as dedicated fans of comic books and gritty action movies alike lined up for the midnight premiere of The Dark Knight, the second in the revamped Batman franchise headed by director Christopher Nolan. The hype was dynamic, nearing the rampant fervor last held by Matrix Revolutions, but this time the anticipation and buzz machine wasn’t met with disappointment and disdain. The Dark Knight lived up to every expectation and exceeded most others. Much more than a comic book film, this piece of history breaks many of the long held rules and traditions of movie making. Without getting into too much detail, let’s just say the sun doesn’t shine down on our heroes very much and without that the audience is not given what would be considered the Hollywood ending. Nolan put his best foot forward and also had to stomp it down on the fact he wasn’t going to lighten this up, make it more palatable to the mass public, because I think he felt they were ready and they deserved it. He set the tone in Batman Begins and he keeps that gritty calmness on the same tightrope with tense anticipation and sliding levels of psychosis. The continuing character development of Batman running right next to the introduction of the Joker and Harvey “Two Face” Dent shows that Nolan is just as good on the page as he is on the camera. Nothing is left to chance, nothing is left unexplained, and that leads to everyone leaving the theater fulfilled.

What words could I possibly write about Heath Ledger’s performance. I was recently talking to my friends after we saw the film about how sad I was. Not only because we will only get one more chance to see new and original performances from Ledger (when his finished footage is used in The Imaginarium of Dr. Parnassus), but also because this brilliant turn on the already once-made iconic role of the Joker will forever be marred by the events that followed it. There will forever be those people that will say we in the Hollywood community and beyond hail this role because of his death and not becuase of its sheer talent and genius. To those small and deluded voices I say this, Heath was an amazingly gifted actor and his interpretation of the Joker would have gone down in the record books no matter what happened to him afterwards and when the accolades and congratulation were lauded on him (an Oscar nomination is guaranteed, the win is probable) he would have accepted them with the same grace and humiliy he has shown so many other times before. He brought something new, something daring and something intentionally terrifying to this character. It’s incredibly unfair to compare his performance with that of Jack Nicholson in Tim Burton’s Batman because that film went in a totally different direction. Burton created a comic book world where Batman and his peers existed, whereas Nolan made a dramatic effect of creating our world, this day and time, which just happens to have Batman, and in turn those who will always turn up to fight against him. The final effect of all that work is a film with much more power, more substance and a raging river of emotions that rush over the audience.

Let’s not forget the other great roles in this film. Christian Bale brought even more to the Batman side of the equation this time, where we spent a lot of time seeing the person under the mask in the first film, now is our chance to see his psyche slide across that dangerously thin line between one personality and the other. One might use the term “the light and the dark”, but for the character of Bruce Wayne it is more approriate to think of it as “the dark and the pitch black”. Aaron Eckhart gives a little touch of his character from Thank You For Smoking and shows what happens when good people are pushed too far. Michael Caine brings a sense of class and stoic nature as always, showing a little more depth of the relationship between Alfred the loyal butler and his charge. Gary Oldman proves once more that he can be a skilled actor without showing how crazy he can be. Morgan Freeman, Maggie Gyllenhaal and a cameo by Cillian Murphy round out the cast, all refusing to let the quality and level of the film dip below outstanding.

Overall, this is a near perfect film. Running at 2 and 1/2 hours, I honestly didn’t feel one minute was overdone or unnecessary. One of the great successes of this piece is on paper this shouldn’t work at all. The normal rules of storytelling are completely shattered, the traditions of Hollywood movies (especially those that cost $180 million to make) are left whining and sputtering in the past. Chistopher Nolan has just secured himself a place in the annals of movie history as a great storyteller, accomplished director and soon-to-be most profitable moviemaker of all time. If you haven’t seen it yet, do yourself a favor and go immediately. I didn’t see it in the IMax first because I was afraid I might miss small details, but now that I have had the Arclight experience first, IMax…here I come for Round 2!

:: :: :: :: :: :: :: :: :: :: ::

Also, here’s a link to one of the better posters to come out of the marketing campaign. Many of them were sensational, like the “Why So Serious” series, but this one had a particular creepiness to it which resonated.