Film: Review – Inception

'Inception' means 'beginning', 'start' or 'commencement', but that doesn't shed much light on what Christopher Nolan's latest blockbuster, starring Leonardo DiCaprio, is all about.

Even if you did read my previous post about Nolan and Inception, little can prepare you for combination of simplicity and complexity of the film itself.

In the film, 'inception' is not just the beginning of something, but the principle of planting an idea in someone's head. The way this is done is through dreams, using the subconscious to control the conscious, which involves connecting people together with a strange briefcase-shaped device which means several people can experience the same dream simultaneously.

The principle which you have to bear in mind watching the film is that dreams always seem real when you're having them, as DiCaprio's character Cobb says: “It's only when we wake up that we realise anything is strange.”

Nolan, who also wrote the film, has never been someone who has embraced CGI in films before, generally adopting a very personal approach to directing, never taking a second unit and often doing shots with a hand-held camera. In Inception though, it's impossible to avoid, since the story and concepts involved require so much which is not physically possible.

It would be a mistake to think that Nolan has 'sold out' with this picture though, since it's an idea he's been working on for many years, and it is certainly worth the wait.

The reputation of the director, who also directed The Dark Knight the trailers are keen to tell us, means Nolan is graced with a fantastic cast to sell his story.

DiCaprio, fresh from another deep emotional performance in Martin Scorcese's Shutter Island, shows us how far he has come from his boyish charms evident in the likes of Titanic and Romeo & Juliet, delivering a gripping portrayal of a character which the audience latch on to and follow through the film, something which is integral to its success.

Ellen Page, of Juno Fame, also delivers convincingly as Ariadne, despite being the token 'young person', as does Cillian Murphy as Robert Fischer Jr., who is the victim of the film's convoluted heist, despite not realising it.

Brit acting legend Michael Caine, in his fourth film with Christopher Nolan, is on wise old mentor duty once again, without his usual comic relief moments, and in fact its Tom Hardy of Layer Cake as Eames who shines in the comedy stakes.

To go in to the story too much would spoil or confuse things, but the film itself is a triumph of Nolan's skill as a director and passion for story-telling. Those looking for the excitement, action and explosions of The Dark Knight won't be disappointed, as the film's climax providing the most nail-biting finale of Nolan's work to date.

What is more important to the film though is that you're constantly asking yourself what is real and what's a dream, which is exactly the question Cobb is constantly dealing with, making you feel quite unnerved at times, but still exhilarated.

Inception is a film which binds genres together seamlessly, going from a heist movie one moment to a tense thriller the next, with some gravity-defying action thrown in for good measure. It must be seen to be believed.

Rating: 5/5

Film: Who on Earth is Christopher Nolan? - Background and a look at latest film 'Inception'

Whenever I mention his name eyebrows are raised, but the truth is Christopher Nolan is nothing short of a cinematic genius, in my mind at least.

The man responsible for re-energising the good-as-dead Batman franchise, as well as deliver the most gripping thriller of recent years, and possibly the best twist ending of all time.

The film I'm talking about is 2006's The Prestige, a story of two magicians who begin as friends but soon their art tears them apart in almost every way. Christian Bale and Hugh Jackman star as Alfred Borden and Robert Angier in a tale which plays with the audiences mind all the way through, just like any good magician.

It is Nolan's skill at guiding the audience through complex storylines, often wrought with flashbacks and surrealism, which makes him such an effective director.

Born in London in 1970, Nolan spent his early life there as well as Chicago, since his mother was american. Nolan caught the film-making bug aged seven and during his education at University College London began making short films.

1996 saw Nolan direct his first feature film, Following, in 1996, about a writer who stalks people. Here the first signs of his penchant for unusual storytelling surfaced, with his protagonist, and the audience, experiencing events in non-chronological order.

Momento in 2000, based on a short story written by his brother and oft collaborator Jonathan, saw Nolan get his first widely-known release, nominated for Best Screenplay at the Oscars.

After this Nolan directed Insomnia (2002), a remake of a Norwegian film, featuring all-round acting legend Al Pacino.

By the time Batman Begins er...began (sorry!) in 2005, Christopher Nolan was still a relatively unknown director and writer, but David S. Goyer, writer of the Blade trilogy and recently creator of the TV series FlashForward, got the green light to lift Warner Bros' hiatus on Batman and soon he and Nolan created the screenplay for one of the most successful 're-boots' in recent years.

With super-sequel The Dark Knight now safely nestled in Blu-ray collections worldwide, Nolan's pedigree as a director seems assured, but it could all depend on upcoming release Inception, a film shrouded in secrecy but which carries the surrealist tells of a Christopher Nolan film.

Starring Leonardo DiCaprio and an ensemble cast including: Ellen Page, Michael Caine and Cillian Murphy, the film – as far as I can make out - focuses around the nature of reality and dreams, and how dreams seem real while we are having them. DiCaprio's character works for a company which deals with “sub-concious security” and there seems to be a lot of surrealism and manipulating gravity and the elements.

Very little concrete information has come out to explain the phenomena seen in the latest trailer (YouTube it now), but the world-bending visuals are certainly a spectacle in themselves. Screen Rant have dissected some of an LA Times interview with Nolan, and suggest this is a very personal film for Nolan.

As writer and director for the film, Nolan has a big responsibility, particularly when you consider even the cast had trouble understanding the plot until the film was in production. DiCaprio said to the LA Times:

“Complex and ambiguous are the perfect way to describe the story. And it’s going to be a challenge to ultimately pull it off. But that is what Chris Nolan specializes in.”

So not really a film where you sit scoffing snacks for two hours, Inception will work the audiences mind, fitting really when you consider the film is pitched as “a contemporary sci-fi actioner set within the architecture of the mind” (Variety).

Ellen Page, who plays Ariadne, said: “There’s a tangible realism even when it gets crazy, and somehow that makes the jeopardy feel more real...There’s the big scale, but the sincerity isn’t left behind. The story is complicated but never confusing.” (SR)

On top of this latest release, Nolan had been talking to David S. Goyer about a new Superman film, sub-titled on IMDB as 'Man of Steel'. Though the thought of a down-to-earth incarnation of America's favourite superhero is enough to get some hearts racing, the likelihood of Nolan directing is unlikely due to the presence of another superhero: Christian Bale – OK Batman...

Currently just referred to as Batman 3 Nolan seems to want to finish his saga: “Without getting into specifics, the key thing that makes the third film a great possibility for us is that we want to finish our story. And in viewing it as the finishing of a story rather than infinitely blowing up the balloon and expanding the story . . . I’m very excited about the end of the film, the conclusion, and what we’ve done with the characters. My brother has come up with some pretty exciting stuff.” (LA Times)

With release set at July 20 2012, Nolan has plenty of time to lead the caped crusader (a possible title?) through a final ordeal of superhero turmoil, though it's difficult to imagine it out-doing the late Heath Ledger's swansong.

Inception will come out in cinemas July 16 and I for one will be there to get another dose of Nolan, because noone makes a film quite like him, and when someone dares to do things a little bit differently, it's nice to see it pay off.

James Michael Parry

Acknowledgements: Wiki, IMDB, Screen Rant

Batman storms onto DVD, but what of Blu-ray?

It feels like a long time since Christopher Nolan's masterpiece hit cinemas in July this year, but yesterday The Dark Knight hit supermarket shelves nationwide, creating a frenzied hoarde of Bat-fans.

HMV coaxed potential shoppers into pre-ordering the epic for £11.99, and throwing in a graphic novel into the bargain, but then subsequently dropped the in-store price for £9.99 in the first week.

The reason? Other than almost betraying the hard-core fans who pre-ordered back in September, the emphasis has shifted from DVD to Blu-ray.

The ultra-cool format boasts increased capacity, allowing shed-loads of special features and numerous times better picture quality, but we've heard this before now, why is it that the shift in marketing has happened now?

Blu-rays war with HDDVD ended earlier this year, with the major film companies who had backed the losing format sheepishly creeping over to Blu-ray, and with Toshiba now having developing new players, the great war is over.

Retailers have waited to strike until Christmas because plenty of people will be forking out on Blu-ray players this year, now that the latest players have the option to connect to the internet to update themselves, and are finally trickling down in price to something affordable.

The Dark Knight was just the vehicle the shops needed to force Blu-ray to the front of people's minds and is currently the highest selling Blu-ray in the USA and UK. Plus it's not just an empty vessel, there's oceans of hot action content and special features to get people's tongues wagging, particularly the Joker's altercation with an articulated lorry and the Batmobile's destruction.

But will it last? DVD is only 10 years old this year and there's little inducation of it going the way of the dodo already. The trouble is that you have to fork out on expensive full HD TVs and 7.1 sound to make it worthwhile and at £25 or so for the titles themselves, the price will have to drop a fair way before the mass market gets on board.

Public perceptions of the format are still positive, but only in another year or so will it be clear how well the retailers Christmas marketing paid off for them in the long run.

For the time being, I'll be looking forward to seeing the film on 'traditional' DVD.

Sequels Suck

“Sequels suck!”: the iconic (ironic sp?) words of Randy Meeks (Jamie Kennedy) in the horror film parody Scream 2, but where did the world's obsession with seeing the same characters in a slightly 'darker' environment with more sex, death and explosions than the first time around come from?
Sequels are by no means a new phenomenon, you only have to think back to Rocky I-V and the countless Dirty Harry follow-ups, but the constant dominance of the sequel risks making the movie industry lazy and complacent.
The most obvious reason for a sequel is the studio executives' “if it ain't broke don't fix it” mentality, since it's proven that audiences engrossed with the first in a series will check out later films, even if they know little or nothing about them apart from what they've already seen.
Lately releases from the “...Movie” series have been increasing in frequency, the latest being the imaginatively named “Disaster Movie”. Strictly speaking these films are not sequels, but their humble beginnings were with Scary Movie and its latter incarnations, and all the films follow the same pattern and style, having generally been produced by the same people.
Now it's not to say there isn't a place for parody or pastiche in modern film (“Airplane!” being the most impressive example from history), but when it gets to a stage where a film merely 'steals' parts of other recent blockbusters for cheap laughs, the public deserves better.
Some films have benefited from recent sequels, such as Sylvester Stallone's “Rocky Balboa”, which shows our favourite hard-as-nails boxer battling with his age to prove to everyone he wasn't the wash-out he became by Rocky V (irony anyone?), but sadly for every Balboa there is a “John Rambo”.
A different take on the same idea is another strategy used in recent years, particularly in the guise of the superhero. “The Incredible Hulk”, “Superman Returns” and “Batman Begins”/”The Dark Knight” are all positive that they aren't 're-makes', but 're-imaginings'. These take existing characters which have already been immortalised on film, to varying success, and re-invent them for a modern audience.
Batman lost the over the top clown that was Jack Nicholson's joker and gained a dark, moody, but still comical replacement in the form of a top-form Heath Ledger, a risky but well executed move that made “The Dark Knight” the second best-selling sequels of all time, grossing over $949million worldwide, but still falling short of Titanic's whopping $1.84billion.
Sadly though, other attempts weren't so successful. In the case of Superman, whose return was directed by the legendary Bryan Singer, helmsman of “The Usual Suspects” and “Xmen”, the plot focused too much on love and family and neglected action, despite an excellent performance from newcomer Brandon Routh and impressive visual effects.
Hand-in-hand with sequels come trilogies, audiences have come to expect them and movie bosses will not disappoint, obediently churning out further incarnations, which often go from bad to worse.
“The Mummy: Tomb of the Dragon Emperor” is the most recent tragedy; having lost director Stephen Sommers and co-star Rachel Wiesz, to be replaced by Rob Cohen and Maria Bello respectively, the franchise faultered, leaving John Hannah's comic relief Jonathan Carnahan stranded and overlooked and the plot in pieces. It just goes to show that even when the previous films flaws are considered, mistakes can still be made.
All of this bodes ill for the return of James Bond in October. “Quantum of Solace” (based on a Fleming short story) will be the first true Bond sequel, set between a few minutes and an hour after the end of “Casino Royale”, but surely with 007's pedigree the film-makers can avoid the typical pitfalls and produce a truly stunning follow-up, right?
The long and the short of it is that sequels aren't going away, but remember in the midst of the “Terminator 4”s and “High School Musical 8: The Pension Years” there will always be original classics tucked away waiting to be discovered.

A life in film: Heath Ledger

The death of Heath Ledger on January 22 came as one of the biggest shocks to the film industry in recent years. The news travelled quickly, with candlelit shrines being erected, tears being shed and mournful tributes held.

To most he will be remembered for his Oscar Nominated performance as quiet Ennis Del Mar from Brookeback Mountain or perhaps the sadistic psychopath the Joker in the upcoming sequel to Batman Begins: The Dark Knight, but for every admirer there is another person who has never heard of him.

This mixed reaction has been echoed amongst students: “I barely knew who he was until he died.” Said second year Cheryl Pennant-Jones, “As someone who's only ever seen him in 10 Things I Hate About You, I didn't know too much about him before.

“It's a tragic incident though, and I especially feel sorry for his daughter Matilda [2].”

Keen fan Elizabeth Norman, a first year Philosophy and Media student added: “He was someone with great talent, who loved his daughter and will never get to see her grow up which is tragic. He wasn't afraid to show his emotions and express how much he loved her...in fact it was his unfailing power of emotion that made his name.

“Whatever the film it is clear Heath could both feel and express what he feels deeply on screen.”

Born in Perth, Australia, on April 4 1979, Ledger was only 28 when he was found dead in his Manhattan apartment by his housekeeper. Police Commissioner of the New York Police Paul Browne said “there were pills within the vicinity of the bed” and there was a possibility of drugs being related, but they had no suspicion of ‘foul play’ in his death.

The latest reports suggest Ledger may have suffered a heart attack, since the level of drugs in his system was apparently too low to cause an overdose.

Ledger’s family described the traumatic event as “accidental”, his father Kim said: “We, Heath's family, can confirm the very tragic, untimely and accidental passing of our dearly loved son.

“Heath has touched so many people on so many different levels during his short life that few had the pleasure of truly knowing him”

Ledger’s impressively vibrant career began on Australian television in 1992 as an extra, but his first breakthrough was on 1996 TV series Sweat, which saw a group of athletically gifted youngsters training in an academy tackled their personal problems.

The first well-known show for Ledger to come into contact with was down under take on Baywatch: Home and Away, when he joined as Scott Irwin. This performance gave him the credibility he needed to play a part in the US-financed series Roar, a medieval drama inspired by Braveheart which earned him a cult following in the US, despite quickly being axed by its US distributor.

Ledger also met the first of his older female partners Lisa Zane, 14 years his senior, who he shared a relationship with in 1997 and followed across the Pacific Ocean to Los Angeles in an attempt to find work.

Unfortunately the now 18 year old actor was less successful in Hollywood than in his native country and was saved when he made his name in the film industry through the Australian film Two Hands in 1999.

Shortly after came one of Ledger’s most well known roles, as Patrick Verona in 10 Things I Hate About You, a modern take on Shakespeare’s Taming of the Shrew alongside teenage heartthrob of the day Julia Stiles.

With this first wave of international success came a downside, Heath felt he was at risk of being typecast into shallow teen-movie roles, and turned down numerous scripts over the next year, his increasingly low finances forcing him to live on noodles and water.

His resolve paid off though when he was cast alongside Mel Gibson in millennium success The Patriot. Ledger played Gabriel Martin, the son of Gibson’s Benjamin Martin, which went a long way in shaking his ‘toy boy’ image and established him in Hollywood as a well-rounded actor.

Along with his latest step up the showbiz ladder came relationships. The first came during the filming of A Knight’s Tale in Prague when Heath met actress Heather Graham (Austin Powers 2) but it went on for only a few months.

In 2001 Ledger began a two year relationship with the star of The Ring Niomi Watts after they met on the set of Ned Kelly. The American, 10 years older than Mr Ledger, was unphased by the age gap: “I think it's about life experience and not about age. I fell in love with a soul and a person, and his life experience was rich enough that it stimulated me.”

By 2004 Ledger had faded a little from the spotlight as The Sin Eater (a.k.a. The Order) floundered at the box office and he focused more on his private life. The filming of Brookeback Mountain the same year threw Ledger together with Michelle Williams, with whom he had a serious two year relationship and his daughter Matilda.

The film itself had been often dubbed ‘that gay cow boy movie’ in the industry since the story had been floating around for years before it was taken on by the director of Crouching Tiger, Hidden Dragon, Ang Lee.

Ledger teamed up with Jake Gyllenhaal, who’d previously auditioned for his part in The Patriot, in a story which earned him the Best Actor Oscar Nomination and Best Supporting Actor nominations for his co-stars Gyllenhaal and Williams. Unfortunately for the cast, the films only win was Best Director.

Soon after the media frenzy surrounding Brookeback Mountain died down, Ledger was approached and asked to portray one of the most iconic villains of all time: The Joker.

Seemingly epitomised by Jack Nicholson in Tim Burton’s original Batman film in 1989, Ledger made it clear he wasn’t going to try to ‘do a Jack’ and would play a far darker and more psychotic character, in line with director Christopher Nolan’s gritty re-vision of Gotham City in Batman Begins.

Internet servers went into meltdown when the first picture of how Ledger would look in the film found its way onto the internet in May 2007, and every trailer, poster and interview since has had fans and critics alike ripe with curiosity as to how it will turn out.

However history remembers him there is no doubt that the death of such a young actor is significant, particularly in such delicate times with the recent strikes and the annual Screen Actors Guild Awards.

To his fans in particular, Heath Ledger will remain a symbol of the achievements of the film industry in recent years and proof that the talent seen in glory days of Marlon Brando and Cary Grant’s Golden Age live on through the performances of young actors and actresses.