What problems/issues you had with Inception?

This 2010 contemporary sci-fi actioner follows a subconscious security team around the globe and into the intimate and infinite world of dreams.
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To the one who was asking about kicks, you need two simultaneous kicks to wake up - one from the level above, and one in your level. When the van hit the water, that was the time that the elevator hit the top, and the explosions destroyed the mountain bunker. Which is why they just ended up back in the first level - there was no kick in the airplane (ie level above the city streets).

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Armandhammer wrote:Seeing that train rumble through the first dream sequence was surely something an average person does not see everyday. :lol:

After another viewing, I realize now that the train was only used as a spectacle and did nothing to intensify or contribute to a sequence of events.

In the second dream level, when the bartender shatters a glass, Dom immediately notices his two children.

So I figure it would have been cool to have that train tumble down the mountain side in the snow level when Dom sees Mal through his sniper scope. Seeing Eames dance between the guards and the train would have given that rather bland action sequence some jazz!

That, or at least have the train be a part of the action in the rain level.

Agree? Disagree?

I've got a few other aspects that were underused in my opinion, but I will wait on some comments first.

None

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Repost from last film i watched thread.
Cilogy wrote:Inception

Saw this bullshit after a really long time, and while I still really enjoy it, and the temporal complexity and the philosophical and emotional implications are still profound for me, there's one huge thing I've just realized during this last viewing that is making me question my impression of the film altogether; Cobb is a really unlikable character.

He comes across as paranoid and careless on the job. The guy treats his team like shit (especially Arthur, who's really just trying his best). He is constantly lecturing Ariadne like she's a toddler. He keeps doing shit he tells others not to do (like he uses someone else's totem, what the fuck are you doing you idiot?). He only cares about people if it benefits him (like trying to save Saito). He refuses to face his clear trauma head-on and instead tries to hide it or literally endangers his entire team because of his denial.

The only thing we are given to side with him is that he has kids. Well fuck, lots of people have kids and they're still fucking assholes. Trump has kids.

Maybe it's just part of Nolan's vision. Nearly all of his main characters are reprehensible; hell, in another context, they'd be villains. But his storytelling makes us side or even root for them.

But I also can't tell whether it's that or Leo's performance, because I fail to feel any degree of warmth to Cobb. However, I feel that with other Nolan characters, despite how despicable they can be (yes, even Leonard Shelby or Angier).

So I dunno
I like Cobb. I have this imaginary backstory for him: he came from poor and humble beginnings, and worked his ass off until he had it all - dreamshare, Mal, and the kids. but then he (they) fucked up, and he has been doing everything he can to fix it. So yes he is a bit paranoid, but it is apparent by other characters' reactions that Cobb is not himself for the duration of the film, sans final scene.

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I never connected to the film emotionally. I think should have been scenes with Cobb and his kids to establish that relationship. Borden’s relationship with his daughter in The Prestige was so much more devastating and rewarding for me. This is not going to be popular, but I would not have cast Marion Cotillard. She comes across as cold and detached in the film, I know there are scenes where that is intentional, but I felt it all the way through. I think Leo did great work, but i couldn’t feel what he was feeling for... if that makes sense (probably not).

The element of the film that did work for me emotionally was Fischer’s relationship with his father. But that’s a subplot. It’s such an awe-inspiring movie, it still has to be one of my favorites from Nolan. But the emotional heart of the film wasn’t all there for me.

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I actually found all their scenes together to be highly erotic.

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Tenetdrome wrote:
December 29th, 2019, 1:36 am
I never connected to the film emotionally. I think should have been scenes with Cobb and his kids to establish that relationship. Borden’s relationship with his daughter in The Prestige was so much more devastating and rewarding for me. This is not going to be popular, but I would not have cast Marion Cotillard. She comes across as cold and detached in the film, I know there are scenes where that is intentional, but I felt it all the way through. I think Leo did great work, but i couldn’t feel what he was feeling for... if that makes sense (probably not).

The element of the film that did work for me emotionally was Fischer’s relationship with his father. But that’s a subplot. It’s such an awe-inspiring movie, it still has to be one of my favorites from Nolan. But the emotional heart of the film wasn’t all there for me.
the emotional core of the film is definitely Fischer’s relationship with his father. subplot? it's literally the main focus of the story.
the little flashbacks with his children are not there in order to make you cry. they are there for you to understand the motive. there was no need for it be more then was it was. it was perfect.

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