Before you read the review, I would like to point out that Drake Miller is an up and coming writer with a terrific command of the English language. He comes from a good family where his father is a talented and published artist. By meeting his father at Comic-Con this year in San Diego, I was introduced to Drake. I must say I was in for a surprise. Drake was reading while sitting in a wheelchair nursing a sprained ankle. Although limited on the different activities that pockmarked the convention, he was enjoying himself. I know he has a love for the written word and H.P. Lovecraft, as do I. The thing that gets me is that Drake is only a teenager. I’m just wondering what he will be able to do when he reaches twenty. My guess is he will be writing books or screenplays of his own. Welcome to the ‘Fridge’ Drake! Best of luck to you! Anthony Marc Liali,Editor
Director and Writer Christopher Nolan has proven that he knows how to make a movie that audiences will love. Unfortunately, audiences often enjoy being tricked into believing that something simple is more complex and brilliant than it actually is. The bottom line is that “Inception” is an action movie, and nothing more. The plot is recycled and predictable, but sprinkled with enough philosophical pretensions and a faux-labyrinthine plot twist that it confused audiences into thinking it was more than just a clichéd spectacle. However, judging it by clichéd-
spectacle standards, it is clear that “Inception” is far above average.
The acting varied from person to person. Leonardo DiCaprio – playing the lead role of the emotionally tormented, hypocritical, and unstable “Cobb” – was phenomenal, which is exactly as one would expect DiCaprio to be. Though the character’s inner-turmoil seemed forced at times, any fault in the character laid within the script, rather than the actor. His opposite, Marion Cotillard as his vicious inner-demon-wife, remained equally as good throughout her role in the movie – which became less intermittent as the story progressed. The minor characters, played by Jason Gordon-Levitt and Ellen Page (and Tom Hardy, to a lesser extent), suffered from a lack of purpose other than to help Dicaprio with their various skills a la Seven Samurai. As a result, any effort made at acting was lost in scenes where the character’s sole purpose was to, say drive a car from point A to B.
Plot-wise, the film was a mess. Rather than draw on the emotionally turbulent relationship between DiCaprio and Cotillard, their interactions were used as a crutch by which the movie hobbled down a straight corridor that it repeatedly insisted was a complex labyrinth of intrigue and moral subtext. Every twist, every breathtakingly suspenseful scene, and every shocking revelation – right down to the unnecessary ending that even M. Night Shamaylan would scoff at – was predictable twenty minutes into the movie. The spectacle of the gorgeous special effects, dramatic camerawork, and effective score, all worked fantastically well together to distract the audience from what was essentially a run-of-the-mill story.
Without spoiling the ending, it should be noted that the dénouement is so atrociously poor that one feels cheated out of a satisfying conclusion. It is both hypocritical, and bad. It negates any moral stance the movie might have had, and leaves any attentive audience member disliking the protagonist. Not in an artistic way that makes an ironic statement, but in a way that lets you know that your time has just been wasted.
As previously stated, “Inception” is nothing more than an above average action film. Its plot is not worth remembering or even noting as being as brilliant or complex as it pretends to be. With the expectation that you are not about to be mentally assaulted with a mind-numbing must-see adventure, “Inception” is more than acceptable.