 |
| Image source: nathanielclaiborne.com |
Science fiction-wise, the CGI that brushes all the impossible stunts are impressive. The succession of mirrors and the reclining floors and mirrors make the audience believe that borrowing something from The Wachowski Brothers’ The Matrix for the last time is not criminal at all. The plot is as inexplicable as its structure, as Nolan intricately interweaves the past with the present until in an outside standpoint it becomes hard to identify which is which, which is the past or whose dream is showing on the screen now.
 |
| Image source: clarionledger.com |
At first glance it is as though Nolan is just sketching his enthusiastic horse playing with images, as he makes use of whatever acting chops there are in the brilliantly assembled ensemble of talents—Leonardo DiCaprio, Joseph Gordon-Levitt, Ken Watanabe, Marion Cotillard, Ellen Page, Cillian Murphy, Dileep Rao, Tom Berenger, Tom Hardy, and Michael Caine.
 |
| Image source: comicbookmovie.com |
Sans the flamboyant computer effects the movie remains an existentialist heist film—but one thing is certain: it is well written and properly directed.
And before the credits rule the screen one might think that he has been robbed of his own dream—but it could be the other thing: perhaps Nolan wants his viewers to dream.
Samantha Pouls is an avid fan of many large-scale film productions that have created a strong impact in popular culture and transformed the entire industry of filmmaking. Her exemplary views on films at large are accessible through this website.
