This film really let me down.
I didn't expect a great film but I expected something that was at least 'OK'.
How wrong I was. I honestly can't understand the hype. 'Intelligent' they say?? What sort of intelligent film has to have it's protagonists explain what is happening continuously throughout the film?? Now Memento, that was a good film. And, I suppose, 'intelligent'. But by intelligent, I mean something that pushes boundaries of the viewer's understanding. I don't mean intelligent as in 1) able to do simple arithmetic, 2) develop reading and writing skills and 3) generally being one notch above a dolphin.
OK, let's make a start shall we? Firstly, one of the greatest literary and cinematic arts is the use of metaphor. This film has none. One thing the film is full of is too much explanatory dialogue (not to mention pre-teen psychology - the father figure relationship in the subconscious). For example, in the first Matrix film, the viewer understands the profundity of what is being delivered through metaphor (a feature that the subsequent Matrix films sadly missed). In this film here, everything is painstakingly explained. To me, this speaks volumes.
Secondly, great actors, yes. BUT ALL miscast and given appalling dialogue in an appalling script. I mean, Ellen Page was great in Juno, but here she comes out with painfully mechanical lines in the same way that Joseph Gordon-Levitt also does. In the same way that every character does. They ALL speak the same way and we are no better understanding one character by the end of the film than we were when they first appeared.
Thirdly, logic. Philosophy. Call it what you want. Why was Ariadne chosen to become the architect? What does she actually DO??
And Ken Watanabe. Why is he alive after dying on the third or fourth level 'down' in the subconscious after the film so adamantly stresses the dangers of dying in the 'dream'? How can he wake up on the plane?? Why, in fact, is there that scene at the start of the film where he appears old and which features the safe and the confidential papers Leonardo De Caprio finds.
Why does Leonardo De Caprio constantly have to furrow his brow? Oh, yes, it's a vain attempt to look mean and manly because the poor man still has, unfortunately for him, such a baby face.
Why is Cillian Murphy's character chosen to be their means of helping LDC's character get back to his kids? And isn't it convenient to have a dream sequence in a blockbuster that resembles a James Bond film snow-covered chase scene? Why does the film have to go on for two and a half hours instead of one and a half? And most importantly, if Leonardo De Caprio's character is so severely screwed up about his wife why, o why does he have to be the main character in this film? Couldn't the team work with someone more well-balanced?? Can he in fact be any use to his kids if he eventually finds them???
Nonsense nonsense nonsense. Big pile of nonsensical psycho-babble. And yes, where else but America???
I didn't expect a great film but I expected something that was at least 'OK'.
How wrong I was. I honestly can't understand the hype. 'Intelligent' they say?? What sort of intelligent film has to have it's protagonists explain what is happening continuously throughout the film?? Now Memento, that was a good film. And, I suppose, 'intelligent'. But by intelligent, I mean something that pushes boundaries of the viewer's understanding. I don't mean intelligent as in 1) able to do simple arithmetic, 2) develop reading and writing skills and 3) generally being one notch above a dolphin.
OK, let's make a start shall we? Firstly, one of the greatest literary and cinematic arts is the use of metaphor. This film has none. One thing the film is full of is too much explanatory dialogue (not to mention pre-teen psychology - the father figure relationship in the subconscious). For example, in the first Matrix film, the viewer understands the profundity of what is being delivered through metaphor (a feature that the subsequent Matrix films sadly missed). In this film here, everything is painstakingly explained. To me, this speaks volumes.
Secondly, great actors, yes. BUT ALL miscast and given appalling dialogue in an appalling script. I mean, Ellen Page was great in Juno, but here she comes out with painfully mechanical lines in the same way that Joseph Gordon-Levitt also does. In the same way that every character does. They ALL speak the same way and we are no better understanding one character by the end of the film than we were when they first appeared.
Thirdly, logic. Philosophy. Call it what you want. Why was Ariadne chosen to become the architect? What does she actually DO??
And Ken Watanabe. Why is he alive after dying on the third or fourth level 'down' in the subconscious after the film so adamantly stresses the dangers of dying in the 'dream'? How can he wake up on the plane?? Why, in fact, is there that scene at the start of the film where he appears old and which features the safe and the confidential papers Leonardo De Caprio finds.
Why does Leonardo De Caprio constantly have to furrow his brow? Oh, yes, it's a vain attempt to look mean and manly because the poor man still has, unfortunately for him, such a baby face.
Why is Cillian Murphy's character chosen to be their means of helping LDC's character get back to his kids? And isn't it convenient to have a dream sequence in a blockbuster that resembles a James Bond film snow-covered chase scene? Why does the film have to go on for two and a half hours instead of one and a half? And most importantly, if Leonardo De Caprio's character is so severely screwed up about his wife why, o why does he have to be the main character in this film? Couldn't the team work with someone more well-balanced?? Can he in fact be any use to his kids if he eventually finds them???
Nonsense nonsense nonsense. Big pile of nonsensical psycho-babble. And yes, where else but America???