A meno di dieci giorni dall’uscita in sala, cominciano a farsi strada le prime recensioni dell’attesissimo Inception, che pare non aver deluso le enormi aspettative, che una campagna pubblicitaria imponente avevano alimentato.
Justin Chang su Variety afferma, con la consuenta attenzione al box office:
If movies are shared dreams, then Christopher Nolan is surely one of Hollywood’s most inventive dreamers, given the evidence of his commandingly clever “Inception.” Applying a vivid sense of procedural detail to a fiendishly intricate yarn set in the labyrinth of the subconscious, the writer-director has devised a heist thriller for surrealists, a Jungian’s “Rififi,” that challenges viewers to sift through multiple layers of (un)reality. As such, it’s a conceptual tour de force unlikely to rank with Batman at the B.O., though post-“Dark Knight” anticipation and Leonardo DiCaprio should still position it as one of the summer’s hottest, classiest tickets.
La premessa del film di Nolan è quella di ambientare un heist movie nel mondo irreale del sogno e dell’inconscio:
But even when questions arise, one so completely senses a guiding intelligence at the helm that the effect is stimulating rather than confusing. Never one to strand the viewer in a maze, Nolan remains a few steps ahead, keeping total comprehension just out of reach but always in view; like a mechanical rabbit on a racetrack, he encourages us to keep up. As dreams go, “Inception” is exceptionally lucid, especially compared with the more free-associative nightmare logic of David Lynch’s “Mulholland Dr.” or “Inland Empire.” Those were movies to get lost in; here, it pays to stay focused.
Like Nolan’s 2001 indie breakthrough, “Memento,” the film toys with themes such as the blurry line between perception and reality, the insidious nature of ideas, and the human capacity for self-delusion; significantly, it also focuses on an antihero captive to the memory of his dead wife. Because the picture privileges the mind over the heart, Cobb’s unresolved guilt, intended as the story’s tragic center, doesn’t resonate as powerfully as it should, though the actors certainly give it their all: Cotillard is a presence both sultry and menacing, and DiCaprio anchors the film confidently, if less forcefully than he did the recent “Shutter Island” (in which he also played a widower at the mercy of dark visions).
Anche le performance degli attori sembrano aiutare il film:
Supporting roles are thinly written but memorably inhabited: Gordon-Levitt cuts a dashing figure; Hardy tears into his smartass supporting role with lip-smacking gusto; Watanabe brings elegance and gravity to his corporate raider; and Murphy plays the unsuspecting dreamer with poignant reserve. Page’s repartee with DiCaprio could have been sharper in places, but the appealingly plucky actress makes Ariadne an ideal stand-in for the viewer.
In chiusura Chang esalta il coraggio di Nolan e legge il film come una metafora del suo cinema, che continua a riflettere sul passato, sulla memoria, sull’inconscio:
If “Inception” is a metaphysical puzzle, it’s also a metaphorical one: It’s hard not to draw connections between Cobb’s dream-weaving and Nolan’s filmmaking — an activity devoted to constructing a simulacrum of reality, intended to seduce us, mess with our heads and leave a lasting impression. Mission accomplished.
Su The Hollywood Reporter, Kirk Honeycutt sottolinea l’originalità del film di Nolan, rispetto ad una stagione di remake, reboot e sequel e ne prevede il successo, inevitabile:
Now “original” doesn’t mean its chases, cliffhangers, shoot-outs, skullduggery and last-minute rescues. Movies have trafficked in those things forever. What’s new here is how writer-director Christopher Nolan repackages all this with a science-fiction concept that allows his characters to chase and shoot across multiple levels of reality.
This is, in some ways, a con-game movie, only the action takes place entirely within the characters’ minds while they dream.
Following up on such ingenious and intriguing films as “The Dark Knight” and “Memento,” Nolan has outdone himself. “Inception” puts him not only at the top of the heap of sci-fi all-stars, but it also should put this Warner Bros. release near or at the top of the summer movies. It’s very hard to see how a film that plays so winningly to so many demographics would not be a worldwide hit.
L’uso degli effetti è molto limitato e le qualità di fotografie e montaggio sono preziosissime:
It also is nice that Nolan strives to keep CG effects to a minimum and do as many stunts in-camera as possible. This photo-realism certainly helps to keep the dream realities looking more plausible.
Credit cinematographer Wally Pfister with so neatly blending the real and surreal without any hokey moments. Ditto that for production designer Guy Hendrix Dyas and the various stunt coordinators and effects teams. Meanwhile, editor Lee Smith does a Herculean job of juggling those different realities.
Sometimes originality comes at a cost though: At the end, you may find yourself utterly exhausted.