Dear Reader, I regretfully must inform you that Christopher Nolan's bombastic Inception has enough startling footage with which to edit 30 exquisitely enticing trailers, but not enough to compose one comprehensible movie from.
So what is the most anticipated film of the summer like? If you recall the scene in Dahmer (2002) where Jeremy Renner as the deranged killer drills holes into his victims' heads, you'll know what watching this Freudian claptrap of a thriller is like.
You'll sit in your seat, possibly with overly salted popcorn, and immediately become bewildered. But then you'll tell yourself the creative force behind Following (1998) and Memento (2000) is always in control. Of course you'll soon know what's happening. But a half hour later exasperation will start settling in over you like a cup of cherry Jell-o firming up in your fridge. Then another 20 minutes will pass, and you'll start feeling like Timothy Leary's severed, cryogenically preserved head. Will there be any relief arriving at all?
Suddenly you'll realize there is no hope when one character asks, "Whose subconscious are we going into?" and another admits she doesn't know what's going on either.
Inception's plot, you see, is about the possibility of remolding a person's mind by subverting his dreams. And sometimes to execute this task, you must enter a dream within a dream that is within another dream. And within this dream within a dream within a dream, you can bring a gang of friends along with you. And on this nightmare journey, people who don't really exist will attack you and your pals because they know you all don’t belong in this other person's dream. And as these folks turn on you, there are a lot of guns blasting away, speedy car races, and buildings disintegrating, but little sex. No sex in a dream?
What's more confusing is that Leonardo DiCaprio’s character, Dom Cobb, seems to be an extension of his deranged Teddy Daniels of Shutter Island (2010). You see, his "deceased" wife keeps popping up and his faceless children are not within his reach, and certain people think he’s a murderer, and . . .
Then there's the great Japanese actor Ken Watanabe as Saito, an ambitious executive, whom we first meet as an old man, then as a much younger man. But whatever age he is, you can’t make out 90% of what he is saying.
As for Joseph Gordon-Levitt, one of American greatest young actors, here as Arthur, Dom Cobb's sidekick, a piece of cardboard could have nearly given the same performance.
And Oscar-winner Marion Cotillard? She walks about to Piaf music. Mr. Nolan, please don’t remind us of better films.
Only Ellen Page, Tom Hardy, and Michael Caine survive Lee Smith’s breakneck editing. Unlike with Christopher Rouse's brilliantly seamless, razor-sharp cutting about for The Bourne Ultimatum (2007), the splicing here is haphazard and exasperating.
All of which brings us to an anonymous quote: "The best thing about dreams is that fleeting moment, when you are between asleep and awake, when you don't know the difference between reality and fantasy, when for just that one moment you feel with your entire soul that the dream is reality, and it really happened."
The main problem with Inception is that it’s soulless. - Brandon Judell
Mr. Judell is featured in the forthcoming documentary Activist: The Times of Vito Russo and has been edited out of Rosa von Praunheim's New York Memories. In the fall, he'll be teaching "American Jewish Theater" and "Theater into Film" at The City College of New York. He has written on film for The Village Voice, indieWire.com, The New York Daily News, and The Advocate, and is anthologized in Cynthia Fuchs's Spike Lee Interviews (University Press of Mississippi).