Tag Archives: Inception

Interstellar review

I tried. I honestly tried. I never meant to see Interstellar, because I already knew that I would hate it – and, more to the point, I already knew why I would hate it. That said, it’s comparatively lukewarm reception does indicate something of a turning point in Christopher Nolan’s career, and perhaps makes this a good moment to recap my reasoning.


Grouchy, yet lovable

Part of the film’s fundamental awkwardness may be down to the fact that it was originally intended as a Stephen Spielberg movie, broken fragments of which are still visible. John Lithgow is awkwardly cast as a stock Spielberg type – a salt-of-the-earth, blue-collar love-bundle. Good old, grouchy-yet-lovable gramps is supposed to project a homely warmth, serving as a stable, loving core for Murphy’s family, but this is totally at odds with Lithgow’s signature style of effete, uppity aloofness. “It’s unnatural to eat popcorn at a ballgame. I wanna hotdog,” he grouches at one point, sounding for all the world like a man who’s never tasted either.

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The Recurring Nightmares of Christopher Nolan

Inception (2010) is a hugely important movie, as most reviewers seem to agree.  A multi-million dollar blockbuster which actually contains one or two ideas and asks its viewers to think about them from time to time, while still keeping at least the two audiences I’ve watched it with audibly invested to the last frame.  Having not only piled box office success on box office success but gained considerable critical praise in the process, Christopher Nolan now stands as the undisputed master of Hollywood, endowed with as much creative and financial freedom as any director working.  Given his intellectual powers and devotion to nuts-and-bolts action work, you would have to be a special kind of cynical not to take this as a hugely positive development for the foreseeable future of cinema. Continue reading

Will Inception Plant True Inspiration in Hollywood’s Future?

It’s no secret that Hollywood have either ran out of ideas, or are too scared to try anything new. Remakes, reboots, sequels and adaptations allow studios to use ideas that have previously proved successful, and already have an audience. After Christopher Nolan’s success with The Dark Knight (2008), Inception (2010) may have seemed safe for Warner Brothers, but I’m sure they hadn’t forgotten how, off the back of Barry Sonnenfeld’s Men in Black (1997), Wild Wild West (1999) sounded like a money printing machine. Yet while Nolan’s films lack giant mechanical spiders, they offer far more then most blockbusters. After being propelled into the limelight with the ingenious Memento (2000), his films have received almost unanimous acclaim. Inception is not his most concise work but, bar the excellent Toy Story 3 (2010), it exposes every other blockbuster this year so far as tripe. Continue reading