To borrow someone's else's invention - Inceptional

Inception, Christopher Nolan’s latest, is a blockbuster with brains with a tremendous cast, heart-pumping narrative and big, bold, brassy music from – who else? – Hans Zimmer, like Michael Caine, another Nolan favourite. Based on dream-making and the idea of implementing a heist, it makes that ‘one last job’ plausible, not because Cobb (Leonardo di Caprio – very impressive, the revulsion over Titanic slipping beneath the surface of collective consciousness) can’t kick the vicarious thrill, but because he wants to get back to his family. Having slept on it (and had a dream, natch), the movie can seem as frothy and insubstantial as what we create in a slumber. The world may or may not be in danger, through energy control (another hot button topic for thoughtful scriptwriters), but it comes down to the characters and whether you care for them. Christopher Nolan leaves their fate to us to decide, being too clever to give us a pat conclusion, but there are enough clues to work out that it’s not a happy fate for any of them. If you like spoilers, they are all trapped in one dream level or another, as even the survivors receive the kick but don’t wake up, except from Cobb’s viewpoint (like ‘projections’, they do not speak). Also, we are not told how exactly they invade the subconsciousness of others, so it’s hokum, very well put together hokum, but hokum all the same. Like a magician, you are distracted from this but the tricksiness of it all (remember Memento?) and this is why it is a must-see. 4 and half out of 5.