Inception

With typical post-modern reluctance (shown by his usual almost painful undermining), Christopher Nolan once again took his audience through to a conclusion that on some level satisfied the audience, as proven by the statistics on rottentomatoes.com (93%). The movie reminded me very much of the British Life on Mars, in that the emotional ride necessarily becomes the basis on which we found our enjoyment because the literal facts remain confusing and unsatisfying. This idea of the real becoming subordinate to some less real/imagined . . . something (I can't ever call it a fantasy, because most of them contain some very nightmare-like elements) seems to circulate among British writers and filmmakers. Even Doctor Who writer Steven Moffat has toyed with the idea as he created The Flesh and then dared the audience/Amy to decide which was better.

Nolan actually did a very good job bringing the audience along in his intricacies (unlike Primer). I didn't get lost, and I was successfully able to maneuver my way through red herrings and legitimate clues. Although I honestly believe the ending is meant to contain some ambiguity, the audience maintains a steady emotional investment in a certain circumstance. It would be disingenuous of Nolan to steal that away entirely, and so I choose to believe that he did not cheat us on essentials, but only subtly defied us to put our weight on any single possibility. Like Life on Mars, our satisfaction in the conclusion becomes not based on belief, but based on choice.

Anyway, I liked it very much. I'd watch it again, if I weren't moving this weekend with two more overdue items at the local library.