If you’re still confused about “Inception” (and, really, if so, it’s been almost a year), this video explains it in terms Mac OS X users will find clear and understandable. Also, this video proves that the “Inception” music can make literally anything exciting.
I know the Internet is rife with mashups that put the “Inception” music over anything and everything. But this one was so good and so oddly fitting, I just had to share. It really is the music that goes with everything. I particularly like how at the same moment in the “Inception” trailer where Joseph Gordon-Levitt is rotating people in midair, they show the “Ghostbusters” moment where Sigourney Weaver rotates in midair. That elevates it to art, in my opinion:
This map drawn by Christopher Nolan breaks down the dream layers in “Inception,” and surely explains everything for the people who were confused by this film. I have to ask, though, is that still a thing? “Inception” being confusing? It came out in July, and I have to assume anybody who was baffled afterwards either consulted the Internet or had a friend explain it to them. The thing wasn’t actually that confusing, was it? At all? There were different dream levels, time moved differently in them, the end. The whole cross-cutting between the levels might be confusing to the Olds who review films in print, but for generations raised on (CLICHE ALERT) MTV and videogames and whatnot, I dunno, I thought it was pretty clear what was going on and when and how.
Anyway, this map is pretty interesting, if you want to rewatch the movie with a handy reference map. [/Film]
If you liked “Inception” but were confused by the rules concerning how time moved in the various dream levels, you are in luck! This video breaks it down and shows these things side-by-side. If you haven’t seen the movie yet, this will ruin the entire thing for you, so just wait a day and see it tomorrow when it hits DVD.
Following on the heels of Christian Bale’s statement that “The Dark Knight Rises” will mark his final stint as Batman, Christopher Nolan confirmed he’s also approaching his third “Batman” film as his last turn with the franchise. He even sounds excited about it, mostly because nobody at Warner Bros. can tell him what to do: “I must say that I’m glad — I’m very, very glad — to be embarking on the last chapter of our Batman saga without any sense of obligation or duty to the studio. They did very well with ‘Inception.’ So I’m able to go into finishing our story in a very enthusiastic way,” he told EW.
Speaking of “Inception,” he says that he hasn’t given any thought to making a sequel (which is good), but that he is working on developing a videogame set in the movie’s world (that is also good, if you’re into videogames). He also says, for the umpteenth time, that he wants people to focus on the emotional meaning of the “Inception” ending, and maybe not so much asking him to say what happened.
As far as I can tell, “Inception” has been a singular moviegoing experience for a lot of people. I can’t recall a recent mainstream blockbuster that inspired so much discussion, dissection, consideration and contemplation. “Toy Story 3,” a movie loaded with pathos and emotions, now seems like it was years ago. I think the last mainstream popcorn movie to inspire such discussion was probably “The Dark Knight,” though some people would argue “Avatar” (and I would dispute this, but since such things are impossible to measure, and since “Avatar” was seen by literally everybody and dominated pop culture for a while, I suppose it’s impossible to completely refute, but again, immeasurable).
I haven’t finished contemplating the movie. I can’t even see other movies without contemplating this one (seriously, I saw “The Kids Are All Right” the other night, and during the post-film chat it took maybe three minutes for the Mrs. and I to get right back to discussing “Inception”). I want to see it again, to experience it again, before I really try to analyze it. I’ve seen some terrific analysis so far, but here’s an example of this movie’s depth and complexity: Somebody took the time to slow down the musical cues in the film, to decode another layer of the immersive filmmaking experience.
WEEKEND BOX OFFICE ROUNDUP: We’re going to try a different style for this weekend’s roundup: almost all “Inception.” Nothing else matters, to be frank. Here is the chaff, quickly dealt with:
– Another movie opened last weekend! It was “The Sorcerer’s Apprentice,” and it was not successful. It earned an estimated $17.3 million over weekend and $24.4 million since last Wednesday. With a production budget of $150 million, this third place debut is somewhere between terrible and ugly. Just 51 weekends ago, the animated rodents of “G-Force” opened to $31 million in three days. That film wound up with $119 million domestically; “Sorcerer’s” will be lucky to earn half of that.