Man of Steel

So. WHERE TO BEGIN?! I wasn't sure I'd bring myself to blog about Man of Steel, but it was in my opinion such a colossal missed opportunity that I think I must as some sort of movie-going therapy, for my own sanity. *wink* This post is going to be RIDDLED with spoilers, so consider yourself warned.

It's interesting how times have changed. Growing up I was addicted to the old Justice League cartoons, and thought the likes of Superman, Wonder Woman, Batman, and Flash were the best things going -- though I didn't know it at the time, DC comics creations were, to my seven year old mind, the superheroes of choice, the ones that fired my imagination and play. (Wonder Woman still is the best, just FYI -- and I live in dread of the day a film is produced that just butchers the character.)

But then something happened, and Marvel started to unleash film versions of their own slate of superheroes -- ones I had little to no familiarity with thanks to my childhood obsession with the Justice League, but who nonetheless managed to tap into my love for these colorful character types. Films featuring Iron Man, the Hulk (in the absence of a Mark Ruffalo-fronted Hulk picture I'd go with the Edward Norton film), Thor, Captain America, and Spider-Man have all met with my resounding approval. I love these characters, I love these films -- this type of adventure never gets old.

And so it was with no little anticipation that I looked forward to yet another re-boot of the grandfather of all superheroes, Man of Steel -- particularly considering Christopher Nolan's involvement in the project as producer. Nolan's Dark Knight trilogy stands among my favorite films in any genre -- those stories are near and dear to my heart, notably for their character development, world-building, and extraordinarily meted-out themes of sacrifice and redemption. Clearly I pinned too much hope on Nolan's involvement, as despite its history, the strength of decades worth of source material, and a pretty strong cast, Man of Steel was such a disappointment.

Now, to be fair, it's not like everything about this film was a flop -- it has its moments, story beats or brief character exchanges that hint at the film that could have been, and made the resulting viewing experience all the more frustrating. The pieces are there for what might have been a fabulous Superman origin story, but lacking the strength of a strong script and solid character development, the individuals that should make me care about this story are lost in a never-ending (literally, NEVER-ENDING) shuffle and blur of explosions and action sequences. And with a run time of two hours and twenty-three minutes, containing at best roughly thirty minutes of film resembling anything like a compelling story, does not a gripping film make. =P

Perhaps for me what it most boils down to is that the Superman character just doesn't work "dark," i.e. Batman-dark -- and we don't need him to. Much has been written about Superman's parallels to Christ, from the manner in which he is sent to the planet to the purpose he fulfills -- a purpose Russell Crowe's Jor-El suggests when he tells his son that "he'll give the people of Earth an ideal to strive towards." If you don't want to look at Superman as a savior-figure, consider him then, at the very least, as the hope of one. That, to me, has always been Superman's defining characteristic, and to see a film that suggests that only to deliver an origin story that is ultimately stripped of hope, and is so bleak is disappointing to say the least. Perhaps that is Man of Steel's biggest downfall -- it suggests a "savior," but then strips away everything that would make him someone to unite behind, someone to cheer for, by making him too human.

This film favors a non-linear approach to telling Superman's origin story, and perhaps if there'd been a greater focus on developing the actual character it might've worked more effectively. As it stands the time-jumps and flashbacks only served to make it harder to really connect with a pre-super Clark Kent. I mean the movie opens with the destruction of Krypton prologue that WILL NOT END and then immediately cuts to an adult Clark, who has apparently been making a living odd-jobbing it around the country. These scenes further support the Superman/Christ parallels, as we see Clark helping and/or saving others in various settings -- and when it is later revealed that he's thirty-three, close in age to when Jesus began his ministry (Luke 3:23), it's suggestive of the savior characterization. But all of that begins to fall apart for me when through various other flashbacks we're told just why Clark left the farm...

Henry Cavill certainly looks like a Superman/Clark Kent, and given his acting resume it's a shame that he wasn't given a chance to bring more to this role than his not inconsiderable muscles. *wink* Now, I get that as a kid Clark would've had a difficult time wrapping his head around why and how much he was different from his peers. I even rather like how the film explores the human tendency to fear the unknown/misunderstood -- that makes sense (especially when you're talking about alien life, ha!). But for whatever reason Clark seems to get stuck in that mindset, obsessed with his differences, and a large part of that blame can be laid at the feet of his earthly parents -- particularly Jonathan (Kevin Costner) and to a lesser extent Martha (Diane Lane). While they certainly love Clark, Jonathan in particular seems to instill in his adopted son this unhealthy fear of becoming known, of hiding the truth from others because of what they might do. Yes, that is the way to live. =P Is it understandable? Okay, sure, but in fiction of this ilk (and I believe it is inherent in the best superhero stories) I want something that encourages me to rise above natural human tendencies and embrace more, to seek possibility, to live in hope.

Further flashbacks reveal that Clark's fellow students and their parents were prone to freak out about Clark's differences (like when he miraculously pulls a bus full of students from the water), but they're hardly marching on the family farm with pitchforks and torches. So while they may not have warmed to Clark, average people are hardly shown to be an active threat -- which makes Clark's actions when his father is imperiled by a tornado all the more incomprehensible. Jonathan actually signals Clark NOT TO RESCUE HIM because there are witnesses, I guess, and Clark (and his mother?!?!) are actually OKAY WITH THAT, so Jonathan dies. WHAT THE HECK?! There is sacrificing yourself out of love, in the face of a real threat, and then there is sacrificing yourself for stupid -- and this falls firmly into the latter camp.

So Clark goes in search of himself or something and after a few years hits the jackpot when he's hired on as part of the crew investigating the discovery of (what turns out to be) a Kryptonian space ship. I suppose Clark was just "drawn" to the area as he goes exploring the ship in the middle of the night, manages to insert the Kryptonian equivalent of a jump drive into the vessel, awakening a recorded version of his father's consciousness. Blah, blah, blah, he gets a super-suit and suddenly, talking to basically a COMPUTER PROGRAM he finds his purpose in life. Never mind how Jor-El can conveniently interface with a ship that presumably left Krypton years before its destruction, or Zod later in the film -- the whole "bestowing of purpose" on his heretofore angst-ridden son is too conveniently played to possess any real emotional resonance. (There is a nice moment as Clark first learns to fly -- the look of wonder on his face as he realizes his possibilities is a moment of refreshing emotional honesty in a film sorely lacking it otherwise.) Clark's sudden acceptance of his Kryptonian heritage just doesn't fly with me, considering the fact that up until this point -- the age of thirty-three -- he's been angst-ridden and disaffected to a point that rivals a teenager. NOT AN ATTRACTIVE QUALITY IN A THIRTY-THREE YEAR OLD, CLARK. *sigh*

Let me talk about Lois for a second, since the space ship investigation is the moment she's introduced to both the audience and Clark. I was so excited when Amy Adams was cast as Lois -- I think she's a fantastic actress, capable of bringing just the right balance of spark and sass to the iconic role. And with a better script this could've worked. It's a different and potentially effective tactic to introduce Lois to Clark in his pre-Superman days. The script is dedicated to giving Lois a more action-oriented role than she's seen in previous incarnations, but when she loudly proclaims to the most TOOTHLESS, BORING PERRY WHITE EVER (Laurence Fishbourne) that he can't fire her because she's a "Pulitzer prize winner" she lost me (pompous much?). I even like the idea of a dedicated journalist like Lois investigating the mystery that is Clark prior to his work at The Daily Planet. However, the moment Clark decides to "out" himself to Lois, thereby removing any mystery about his identity in the FIRST FILM of the series, all of the tension between these two iconic would-be lovers dissolves. There's no tease, no mystery, no tension between nerdy Clark getting on Lois's last nerve. And here, that reduces most of their on-screen relational development (and I use that term VERY loosely, because it is practically nil) to one of predator vs. prey, if you will -- so when the obligatory kiss comes at the end of the film, there's no spark because there's been absolutely NO RELATIONSHIP DEVELOPMENT BETWEEN THEM AT ALL. Is that not the saddest superhero love story EVER?! =P

The movie's final act -- which seems like approximately two-thirds of its run time -- is devoted to basically bringing the apocalypse to Metropolis. People, it just doesn't END. I can't think of another movie where I left feeling so completely and utterly exhausted. There's no balance, no moments of character development that not only break up the relentless action but actually raise the stakes because we then CARE about the characters. Other superhero films feature some level of mass destruction, sure, but I'm convinced that NOTHING compares to the hell that rains down on the hapless human population -- a hazard-assessment team even did some analysis of the damage. One of the characteristics that's always set Superman apart is that he's always seemed to care about each and every human being, going out of his way to STOP chaos. This is just a free-for-all -- but with Zack Snyder directing I don't know why I expected anything less. =P Which brings me to Superman killing Zod -- I'm sorry, but I don't buy that it was necessary. Superman doesn't have to "kill" to put him off doing it in the future -- that is the one GLARING NEON SIGN IN THE FRIGGIN' SAND that Superman has never crossed (on-screen at any rate, not sure about in the comics). Badly done. (Speaking of Zod, all I can say is Michael Shannon really did a great job chewing the scenery, I guess...)

Wrapping this up, I have to give a shout-out to Christopher Meloni as Colonel Nathan Hardy, who was the only character I ended up caring about in this whole mess -- so of course he dies in a blaze of glory. *rollseyes* I also thought Antje Traue as Faora-Ul was nicely villainous as Zod's second in command -- and since she only got sucked into a black hole, maybe she'll return for the inevitable sequel(s).

There's opportunity here, but there is a TON of ground that needs to be made up if any sequels to Man of Steel hopes to restore, oh, I don't know, THE HUMANITY to this character. Cavill could be a good Superman -- if only he had something to work with, instead of merely serving as a prop to be moved around in endless CGI-action sequences. With a character-driven script and a director known for CHARACTERIZATION and STORYTELLING, instead of just elaborate set pieces, a Superman sequel could improve on this mess. But it's got an uphill battle working against it to get me to even marginally care. This cast, but more than that this character and his history deserve better.

The Dark Knight Rises

In preparation for seeing The Dark Knight Rises I re-watched Batman Begins and The Dark Knight for the first time in -- well, I'm not sure how long. TOO long. I'd forgotten the power of those films, and how they never fail to draw a deep, visceral, emotional response from me every time I view them, without fail. Christopher Nolan's darkly compelling reimagining of the Batman legend is storytelling at its finest, exhilarating, powerful, and moving. I feel as though I can't really look at this film as a single entity -- it really is just the third act of Nolan's Batman epic. And as such, I thought it was beautifully told. There are apt to be lots of spoilers below, just so's you know. :)

After I finished watching The Dark Knight, I went back to my old blog and read my thoughts on that film (that was 2008? where has the time gone?). I was once again powerfully struck by Batman's sacrifice at the end of TDK, where he takes the blame for the crimes Gotham's White Knight, Harvey Dent, committed as Two-Face prior to his death. If the Joker taught Batman anything, it was that there is a very thin line between hero and vigilante. If all -- or at least part -- of the reason Bruce Wayne initially donned Batman's cowl mask was to become a symbol for the people of his city, to embody the idea that anyone could make a difference, he takes a step towards the ultimate sacrifice by allowing himself to become the villain in order that Gotham might have hope, an ideal to cling to in the darkest night. As the then-Lieutenant Gordan explained to his son, Batman isn't the hero Gotham wanted, but the one she deserves. They'll chase him because they need to, and because he can take it, because he's willing to be whatever Gotham needs in order to give the people of the city the strength to rise up against crime and lawlessness. That was Batman's gift -- taking on Dent's guilt and leaving Gotham with the hope of something incorruptible and pure -- a line he crossed a long time ago.

The Dark Knight Rises picks up eight years after Harvey Dent's (Aaron Eckhart) death, the former District Attorney memorialized as a hero. The Dent Act, inspired by his heroism, has given Gotham's law enforcement the power need to virtually elimate crime. Superficially, all seems well -- but Gordon (Gary Oldman), now the police commissioner, is increasingly sick with guilt over his part in perpetuating the myth of Dent's nobility at the expense of Batman's reputation. Billionaire Bruce Wayne (Christian Bale) has become a recluse, whose notoriety only grows with each passing year that he spends in self-imposed seclusion on his estate. Following a large investment in Wayne Enterprises board member Miranda Tate's (Marion Cotillard) clean energy project -- a device designed to harness fusion power -- Wayne pulled funding when he learned that the device's core could be modified and transformed into a nuclear bomb. The failed project has left the once powerful and influential Wayne Enterprises in financial flux and turmoil, ripe for a takeover bid -- and waiting in the wings is an unscrupulous business rival, Daggett (Ben Mendelsohn), eager to deal the once-mighty company a final death blow.

Superficially, Gotham is more peaceful than it has been in years -- but as her once-mighty guardians Gordon and Wayne sit sick with the knowledge that the peace was bought with a lie, no matter how well-intentioned -- the city itself is crumbling from within. There are rumors of an army assembling beneath of the city, led by a ruthless mercenary -- as Gordon painfully discovers when investigating the kidnapping of a congressman. Gordon's only ally is a streetwise police officer named Blake (Joseph Gordon-Levitt), who grew up in an orphan's home funded by the Wayne family. Blake's family history is heart-breakingly similar to Bruce's -- and he has identified so strongly with the Bruce's family heartache that he's seen beyond the playboy persona and pegged the recluse as Gotham's Dark Knight. Blake and Gordon know their city needs its caped crusader -- but Batman has been absent for so long, could he survive another war with unspeakable evil? And as the ever-faithful Alfred (Michael Caine) worries, does he even want to?

Nolan doesn't miss a beat in bringing Batman's story full circle. I was blown away by how many threads from the first two films were woven into this final act. This is thorough, thoughtful, timeless storytelling. Over the years throughout this filmic journey I've been struck again and again by the manner in which Nolan utilizes the heroic journey template to bring Batman's story to life. In The Hero With a Thousand Faces, Joseph Campbell posits that the archetypal hero receives a call to adventure that requires him to set himself apart, venture into previously unknown territory, survive trials and complete quests, and then return to society where he shares the fruits of his knowledge and accomplishments. According to Campbell, the purpose of trials is to conduct individuals 'across those difficult thresholds of transformation that demand a change in patterns not only of conscious but also of unconscious life' (as discussed in my undergraduate thesis).

Tortured by his parents' murders, Bruce became Batman for a two-fold purpose -- to make a difference, to become a symbol of resistance to evil, but also in an attempt to exorcise the demons that haunt him. Because fighting evil at the level Batman encounters cannot help but change a man -- and every time he puts on that mask, every time he faces unspeakable evil, he dances with the risk of losing his own precious sense of humanity. That, I think, is how best I can articulate Alfred's grief over his son in every way but name -- his heart's desire is to know that Bruce could live free from the shackles of the past. His devotion is raw, pure, and heart-breaking. Caine's portrayal of Alfred breaks my heart every single time, and every time leaves me breathless, on the edge of my seat in awe of Bruce's drive and wondering how he can possibly come back from one more ride as the Dark Knight.

I suppose  the "easiest" way to finish up my discussion of this film, and in the hope of touching on as many of the elements that I loved, is to talk characters. I have loved every second watching Christian Bale's journey as Bruce Wayne/Batman. When Wayne the recluse was first introduced, my first thought was "Look! Wayne's an American Rochester!" (A Jane Eyre reference is always appropriate, no? Ha!!) Ever since Rachel's (Maggie Gyllenhaal) death at the end of The Dark Knight, Bruce has remained "stuck" in limbo, because with her death he believed he'd lost his one shot at a life beyond Batman. The revelation that Rachel would've chosen Harvey Dent if she'd lived, and that Alfred had kept that knowledge from him was positively gut-wrenching -- especially in how it leads him to reject the ever-faithful Alfred.

Meeting Blake and Selina Kyle, a.k.a. Catwoman (Anne Hathaway) are turning points for Bruce, as through them we see, I think, for the first time him realize that he has an opportunity to sow into their lives, to take everything his experiences as Bruce and Batman have taught him and share it (the final step in Campbell's heroic cycle). In Blake, Batman recognizes a kindred spirit, someone willing and capable of stepping into his shoes as Gothoam's symbol of resistance. Joseph Gordon-Levitt was just amazing as Blake -- principled, driven, loyal to Gordon, willing to risk the ire of fellow officers like Foley (Matthew Modine) to follow his gut instincts. I loved the energy and physicality Gordon-Levitt brought to the role, and that hint of brokenness behind the eyes, so similar to Bruce's -- yet perhaps not quite so in danger of losing himself, because of how he seems grounded in serving/mentoring his fellow orphans. And while his full legal name -- Robin John Blake -- comes as no surprise by the end of the film, the official reveal is an extremely satisfying moment. I loved the fact that rather than develop a partner relationship between the two, Batman mentors Blake and then gives him the ability to continue as his heir.

I confess I was a little nervous when I first heard that Hathaway had been case as Catwoman. Catwoman has been a favorite character of mine ever since I was a child -- I loved her style, her cat ears, and as I grew older, that sense of ambiguity and attraction between her and Batman. The script handles her character brilliantly and Hathaway more than rises to the occasion. Selina Kyle is, in her own way, just as broken as Bruce Wayne, just as desperate for a fresh start -- and until she meets Bruce/Batman, unable to see a way to achieve that new beginning without selfishly doing whatever it takes in order to guarantee her survival. It isn't until she effectively signs Batman's death warrant at Bane's hands that you see regret crack her steely demeanor -- and when he returns, the realization that he still sees the possibility for good in her, in spite of what she's done, that is what empowers her to change. More than the momentary flirtation Bruce Wayne shares with Miranda Tate, I loved the soul-deep connection this film forges between Batman and Catwoman, and the way in which it explores the idea that these two broken, wounded people can rise above their pasts to make a difference in their world.

Tom Hardy as the mercenary Bane was interesting. I am really a fan of Hardy as an actor but the character of Bane left me a little...flat. Compared to the Joker or the fear unleased by Ra's Al Ghul (Liam Neeson), he struck me as such a run-of-the-mill terrorist. Absolutely, 100%, crazy and evil yes -- but more interesting because of his history with the League of Shadows and relationship with Ra's Al Ghul's heir than his status as an arch-villain. He didn't stand alone for me -- he was a puppet. I remember reading that Hardy had to redo his dialogue because the initial cut was so garbled -- and laying the re-done dialogue over the existing soundtrack didn't do Bane any favors, either. It seemed separate from the film, in a way.

That said, I loved the reveal of Bane's history and how it related to Miranda Tate, revealed to be the true mastermind behind the latest attack on Gotham, because she is the daughter of Batman's mentor -- Ra's Al Ghul. First of all, Cotillard is unbelievably classy-looking, and I loved her whole demeanor as Tate -- and then the turn, when she reveals that she's been playing Wayne all along. This was a long con, brilliantly executed, and her cold-blooded plotting honestly scared me more than Bane's thuggery.

I've already mentioned how much I adore Caine as Alfred. It was also wonderful to see Morgan Freeman return one final time as Lucius Fox. I loved the moment at the end of the film when  he examines the Bat and realizes that Wayne had already fixed the autopilot issues -- and that against all odds he could've survived. That look -- oh it was priceless. In the category of people I never expected to see in this film, we have Burn Gorman, the Torchwood vet as Stryver, an associate of Daggett's, and then there's Sgt. Wu -- I mean Reggie Lee! -- as Ross, Blake's partner on the police force (thanks to Grimm I can't think of Lee as anyone other than Wu, lol!). I also loved seeing Scarecrow (Cillian Murphy) and Ra's Al Ghul make return appearances in this film -- Nolan never missed a beat. :)

Google The Dark Knight Rises and Charles Dickens, and you have your choice of articles discussing how Nolan was inspired by the classic A Tale of Two Cities when penning the script for Batman's final chapter. Dickens's tale of the French Revolution is all over the final third of this film in particular, lending a timeless quality to the chilling scenes of the show trials and Bane's efforts to get the Gotham populace to tear down its wealthy, and the scenes of the resistance led by Gordon and Blake. There is a particularly effective moment when Selena Kyle finds a family photo in a trashed home, and realizes, perhaps for the first time, the human cost of this "revolution."

When Bane throws Batman in his hellish pit of a prison, the trilogy really comes full circle. Batman Begins opens with Bruce Wayne in prison, so eaten alive with the pain of loss and rage that he was willing to live there in order to fight criminals. This time, this time the prison is not only literal but a symbol, and in breaking out of it, Bruce sheds the shackles of his past. He is literally and figuratively reborn when he emerges from the pit, ready for one final battle as the Batman -- but not just for himself, for his broken and besieged city. In making that final, apparently fatal sacrifice to save Gotham, Batman reveals that he is finally ready to relinquish his dual identity and move on with his life. (Side note: the look on Gordon's face when he realizes that Bruce Wayne, the child he offered comfort to years earlier has been his staunchest ally against crime, responsible for saving his son's life -- it's a powerful illustration of how one never knows what little, perhaps seemingly inconsequential moments, sow into the lives of others to bear fruit years later.)

At Bruce Wayne's funeral, Gordon reads the following passage from A Tale of Two Cities:

"I see a beautiful city and a brilliant people rising from this abyss, and, in their struggles to be truly free, in their triumphs and defeats, though long to come, I see the evil of this time and of the previous time of which this is the natural birth, gradually making expiation for itself and wearing out....It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to than I have ever known."

That is a fitting summation of Bruce Wayne's final gift to his city -- enabling them to rise above, to survive and (hopefully) thrive after Bane's assault -- the gift of faith that they could do so without him -- but he doesn't leave them forsaken. In willing the Batcave to a worthy successor in Blake, in seeing the Bat Signal repaired, lies an assurance to two o fhis staunchest allies that they will never be alone. Unlike the immortality Ra's Al Ghul saught to achieve, Batman's legacy as a symbol of sacrifice and hope is oh so much more powerful. And Bruce's final gift, of allowing Alfred to see that he'll be okay -- oh that brought tears to my eyes. He's finally, I hope, achieved a measure of the peace that proved so elusive.

I sincerely hope that come awards season The Dark Knight Rises receives a slew of nominations. This film, and the trilogy as a whole, is an epic accomplishment in every sense of that phrase. From Nolan's masterful direction, to the tightly-plotted scripts, character arcs, set and costume design, and yes, the musc -- love Hans Zimmer's scores! -- Nolan's Batman trilogy is a breath-taking, cinematic tour-de-force. Seeing Bruce's hard-won measure of peace -- it's been a long journey but one well worth the taking.

*Images copyright Warner Bros./DC Comics.

The Dark Knight Rises trailer

I am so ridiculously excited about this film.



Thoughts? I think Christopher Nolan has done a brilliant job with the character of Batman, and from the looks of the teaser trailer and the cast list ("series" regulars Christian Bale, Gary Oldman, Michael Caine, and Morgan Freeman are being joined by Tom Hardy, Joseph Godon-Levitt, Anne Hathaway, and Marion Cotillard), The Dark Knight Rises will be the best installment - and a fitting conclusion - to Nolan's richly compelling, dark, and gritty reimaging of the Batman story. It'll certainly be one of my most anticipated films of 2012 at the very least. :)

Inception

This may be one of my shorter movie reviews, because honestly I’m still sort of processing this movie. I saw Inception Friday night, and I really, really enjoyed it. I’m a big fan of director Christopher Nolan’s last couple of films (Batman Begins, The Dark Knight, and The Prestige), so I will admit to being predisposed towards wanting to be impressed with his newest effort. Inception is a beautifully constructed, thought-provoking sci-fi caper flick with some mind-blowing special effects. While I was predisposed to liking this movie, for me it delivered on every level and honestly surpassed my expectations.

As I mentioned, at its core Inception is a heist movie glossed up with eye-popping special effects. The team of extraction specialists – dream thieves – are incredibly well-cast and work really, really well together on-screen. The team is led by Cobb, the troubled Extractor played by Leonardo DiCaprio. I really, really liked DiCaprio in this role – his character is brilliant, troubled, and unsettling. The Point Man is Arthur, played by Joseph Gordon-Levitt, and I just have to say I didn’t realize until now how hot he is…just sayin’. *g* Arthur’s character was interesting – not quite in a position to be the “brains” of the operation, he’s brilliant at executing Cobb’s plans and extremely capable. Loved how Arthur pushed back when something didn’t “feel” right, but his loyalty to the team wouldn’t let him back out of the job. The Architect, Ariadne, is played by Ellen Page, and honestly given the rest of the cast I was concerned she’d be the weak link. However, she more than delivers in her role as Cobb’s conscience, I guess you could say, and provides an excellent counterpoint to Cobb’s character. My favorite team member was the Forger Eames, played by Tom Hardy of Wuthering Heights fame. His character was just fantastic and hilarious, and managed to steal every scene he was in.

Other notable casting includes Ken Watanabe as Saito, the Tourist, and I don’t think he’s ever been creepier to be quite honest. Marion Cotillard brilliantly plays the Shade, Mal – and I really, really don’t want to spoil her character. She’s by turn frightening and heartbreaking. There are also a couple of Nolan’s usual suspects making appearances. Michael Caine has a brief role as Miles, Cobb’s one-time teacher (and father? – a bit confused on that point). Cillian Murphy sadly loses his accent to play the Mark, businessman Robert Fischer, Jr. I would’ve loved more insight into his character, like how he developed his mental defenses against extraction, but one really can’t expect that in a caper flick I suppose.

The visuals of this movie are absolutely stunning throughout. Nolan and his team are definitely breaking new ground here – honestly I feel that way about the entire movie. I can’t remember offhand the last time I saw a film and left the theater feeling that I’d experienced something wholly original. The premise of Inception is extraordinarily disturbing, since Cobb & company specialize in infiltrating and stealing the very essence of what makes us individuals – our minds and thoughts. There are no heroes in this film, since by the end of the movie it is apparent that Cobb & company – especially Cobb – are caught in a vicious cycle of largely, if not entirely, of their own making. For me, the structure and the visuals of this film made it utterly absorbing. And one final comment:

SPOILERS!

The final scene of this movie just killed me. I mean in hindsight it makes perfect sense, but I was one of many people in the theater on Friday that let out a collective “no!!” By the end of the film, I was invested enough in the story and the characters, really in the world of the film, that I wanted everything I’d seen up to that point to be in the “real” timeline. I wanted Cobb to really achieve his dream. But like the entire movie, Nolan forces you to rethink what’s real and what’s a dream, and brilliantly constructs a dream on-screen to completely absorb viewers. Well played IMO. Thoughts? :)