Movie - Inception

[BootsToAsses]

I did a search and couldn't find a thread on this one; I know there used to be but never mind.

I just popped this in today as I hadn't watched it in a while. Phenomenal film.

I understand the criticism that perhaps its a little heavy on the exposition but I think its to be expected with a plot as complex and mind boggling as it is.

This time around, the thing that resonated most with me were the final few minutes. When Cobb finds Saito in Limbo and they realise why he's come for him, then they wake up on the plane and Decaprio's facial expressions are unbelievable. The way he looks at everyone and then his expression changes when he locks eyes on Saito who then picks up the phone to honour their agreement.

The way the music builds from that scene to the scene where he passes through immigration gave me goosebumps. It's just a wonderfully executed few minutes and I found this to be the most powerful part of the film.

And I don't care if the totem keeps spinning at the end. I think the point Nolan was making is that it didn't matter to Cobb if he was still dreaming once he saw his kids' faces. He was back with his children and that was all that mattered.

[Bob Loblaw]

How do Cobb and Saito get out of limbo? Do they kill themselves?

[BootsToAsses]

How do Cobb and Saito get out of limbo? Do they kill themselves?

I think so, yeah. Cobb goes down to limbo and finds Saito, who because of the way time goes faster with each deeper level has grown into an old man and pretty much forgotten that limbo is not reality. When he sees Cobb and the totem he starts to remember, and thats why Saito asks "Have you come to kill me?" and then at the end of the little chat he picks up the gun.

They both kill each other and it kicks them back up to reality, which is them on the plane.

There's a part of the film where Cobb wakes up and runs to the bathroom to wash his face. He spins the totem but drops it on the floor, then he gets interrupted by Saito. I think that's the first moment that suggests that perhaps the rest of the film is a dream and not reality, because Cobb doesn't check the totem again after he drops it.

[nyquillyn]

I hated the second half of this movie so much. With all the overblown action, it lost all context and I stopped caring about the characters. Cobb and his wife "losing themselves" is the most interesting aspect of the movie. I wish Nolan would have delved more into this and spent less time shooting up the damn ski resort.

[Monkey_Driven]

Flaws aside, I find this to be one of the most original and impressive big budget movies of the last several years.

I didn't find the last half poorly done at all. It had some real edge of my seat moments and I never do that in the theatre anymore.

[BootsToAsses]

I hated the second half of this movie so much. With all the overblown action, it lost all context and I stopped caring about the characters. Cobb and his wife "losing themselves" is the most interesting aspect of the movie. I wish Nolan would have delved more into this and spent less time shooting up the damn ski resort.

I definitely agree with this. Cobb and Mal losing themselves for decades in limbo and losing grip on what's real is the most fascinating aspect. There could be a whole movie about this idea alone.

[Bob Loblaw]

How do Cobb and Saito get out of limbo? Do they kill themselves?

I think so, yeah. Cobb goes down to limbo and finds Saito, who because of the way time goes faster with each deeper level has grown into an old man and pretty much forgotten that limbo is not reality. When he sees Cobb and the totem he starts to remember, and thats why Saito asks "Have you come to kill me?" and then at the end of the little chat he picks up the gun.

They both kill each other and it kicks them back up to reality, which is them on the plane.

There's a part of the film where Cobb wakes up and runs to the bathroom to wash his face. He spins the totem but drops it on the floor, then he gets interrupted by Saito. I think that's the first moment that suggests that perhaps the rest of the film is a dream and not reality, because Cobb doesn't check the totem again after he drops it.

Yeah, that makes sense.

But also, in the first dream level, where the Indian dude is driving the van and takes it over the bridge into the river, weren't they supposed to spend like a week on that level? Once they woke up and got out of the van, did they just wander around that level waiting for the timer to run out?

[Dscans]

I did a search and couldn't find a thread on this one; I know there used to be but never mind.

I just popped this in today as I hadn't watched it in a while. Phenomenal film.

I understand the criticism that perhaps its a little heavy on the exposition but I think its to be expected with a plot as complex and mind boggling as it is.

This time around, the thing that resonated most with me were the final few minutes. When Cobb finds Saito in Limbo and they realise why he's come for him, then they wake up on the plane and Decaprio's facial expressions are unbelievable. The way he looks at everyone and then his expression changes when he locks eyes on Saito who then picks up the phone to honour their agreement.

The way the music builds from that scene to the scene where he passes through immigration gave me goosebumps. It's just a wonderfully executed few minutes and I found this to be the most powerful part of the film.

And I don't care if the totem keeps spinning at the end. I think the point Nolan was making is that it didn't matter to Cobb if he was still dreaming once he saw his kids' faces. He was back with his children and that was all that mattered.

I disagree. I think Cobb definitely cares and that's why he has that long speech with Mal where he refuses to stay in limbo with her because the dream version of her isn't good enough. Why wouldn't he feel the same way about his kids?
And i loved the action sequence.

[BootsToAsses]

I did a search and couldn't find a thread on this one; I know there used to be but never mind.

I just popped this in today as I hadn't watched it in a while. Phenomenal film.

I understand the criticism that perhaps its a little heavy on the exposition but I think its to be expected with a plot as complex and mind boggling as it is.

This time around, the thing that resonated most with me were the final few minutes. When Cobb finds Saito in Limbo and they realise why he's come for him, then they wake up on the plane and Decaprio's facial expressions are unbelievable. The way he looks at everyone and then his expression changes when he locks eyes on Saito who then picks up the phone to honour their agreement.

The way the music builds from that scene to the scene where he passes through immigration gave me goosebumps. It's just a wonderfully executed few minutes and I found this to be the most powerful part of the film.

And I don't care if the totem keeps spinning at the end. I think the point Nolan was making is that it didn't matter to Cobb if he was still dreaming once he saw his kids' faces. He was back with his children and that was all that mattered.

I disagree. I think Cobb definitely cares and that's why he has that long speech with Mal where he refuses to stay in limbo with her because the dream version of her isn't good enough. Why wouldn't he feel the same way about his kids?
And i loved the action sequence.

That's an interesting point. I was only throwing out possible scenarios, I'm still of the belief that the ending is in fact real life and he's happily reunited with his kids. The totem spinning and spinning and then cutting to black was probably just Nolan messing with everyone.

The whole bit where Cobb tells Ariadne about how him and Mal spent 50 years in limbo creating their world and then how she lost it and killed herself has a weird feel to it. The way it cuts back to show us what happened creates a weird mood. I like it but its a surreal feeling to me.

[Superblood Wolfmoon]

Just watched this again for probably the fourth time, and I’m pretty sure it’s Nolan’s best film. It’s a movie that really needs a few viewings to not only understand everything that’s going on, but to appreciate how flawlessly Nolan and the cast execute everything.
I never really thought about it on prior viewings, but it’s also a fantastic heist movie. The way it dances with genres is simply masterful.

[Superblood Wolfmoon]

I did a search and couldn't find a thread on this one; I know there used to be but never mind.

I just popped this in today as I hadn't watched it in a while. Phenomenal film.

I understand the criticism that perhaps its a little heavy on the exposition but I think its to be expected with a plot as complex and mind boggling as it is.

This time around, the thing that resonated most with me were the final few minutes. When Cobb finds Saito in Limbo and they realise why he's come for him, then they wake up on the plane and Decaprio's facial expressions are unbelievable. The way he looks at everyone and then his expression changes when he locks eyes on Saito who then picks up the phone to honour their agreement.

The way the music builds from that scene to the scene where he passes through immigration gave me goosebumps. It's just a wonderfully executed few minutes and I found this to be the most powerful part of the film.

And I don't care if the totem keeps spinning at the end. I think the point Nolan was making is that it didn't matter to Cobb if he was still dreaming once he saw his kids' faces. He was back with his children and that was all that mattered.

[BootsToAsses]

I did a search and couldn't find a thread on this one; I know there used to be but never mind.

I just popped this in today as I hadn't watched it in a while. Phenomenal film.

I understand the criticism that perhaps its a little heavy on the exposition but I think its to be expected with a plot as complex and mind boggling as it is.

This time around, the thing that resonated most with me were the final few minutes. When Cobb finds Saito in Limbo and they realise why he's come for him, then they wake up on the plane and Decaprio's facial expressions are unbelievable. The way he looks at everyone and then his expression changes when he locks eyes on Saito who then picks up the phone to honour their agreement.

The way the music builds from that scene to the scene where he passes through immigration gave me goosebumps. It's just a wonderfully executed few minutes and I found this to be the most powerful part of the film.

And I don't care if the totem keeps spinning at the end. I think the point Nolan was making is that it didn't matter to Cobb if he was still dreaming once he saw his kids' faces. He was back with his children and that was all that mattered.

I forgot I'd made this thread. I also watched this last week for the first time in ages. It's a spectacular film after repeat viewings. "Time" from the soundtrack is beautiful music.

[Superblood Wolfmoon]

I'm really surprised the Inception thread is only one page, yet Deadpool 2 is already at 9 or 10.

[Simple Torture]

I thought this was good, but I've only seen it once. Probably worth a re-watch.

[The Argonaut]

I'm really surprised the Inception thread is only one page, yet Deadpool 2 is already at 9 or 10.

http://archive.theskyiscrape.com/viewtopic.php?f=10&t=85755

[Superblood Wolfmoon]

I'm really surprised the Inception thread is only one page, yet Deadpool 2 is already at 9 or 10.

http://archive.theskyiscrape.com/viewtopic.php?f=10&t=85755

Thank you good sir!

[Bi_3]

Apparently we can do this now:

https://www.vice.com/en/article/4admym/ ... eakthrough