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The rumours are true, the hype is justified and the critics are being silenced.
Like a virus, Inception has wormed it’s way into the psyche of cinema and is merciless in its execution.
Christopher Nolan may have gained blockbuster notoriety with his work on The Dark Knight but this psychodrama will infect audiences and leave him with an army of life-long followers.
The Memento director doesn’t have time for compromise, having never made a film that doesn’t require some effort on the audience’s part and Inception is no exception. Go for a loo break and you will spend the next ten minutes trying to play catch up.
Dom Cobb is in the game of psychological espionage, picking through the minds of unsuspecting marks and extracting the secrets to their corporate success.
Having been implicated in his wife Mal’s ( Marion Cotillard) suspicious death, Cobb has been extradited from the United States and is working tirelessly to get back to his children.
When businessman and previous mark offers him a job that when accomplished will allow him to go home, Cobb is immediately interested.
As with all good offers, if it sounds too good to be true, it probably is.
Rather than extraction Cobb must plant an idea into the mind of wealthy mogul Robert Fischer Junior (Cillian Murphy) without him realising that the idea is not his own.
Cobb sets about assembling an Oceans 11 style crew of vagabonds including Ellen Page’s Ariadne, the ‘architect’ hired to create the dream world and Tom Hardy’s Eames, a British ‘forger with a flare for theatrics.
The pair act as markers for the audience, providing moments of exposition and comedy respite throughout the complex narrative.
From here the plot gets a little thick and very complicated. Once you have allowed yourself to become immersed in Nolan’s dream world there is no turning back.
After the explosive sequence of truck tipping in The Dark Knight, it seemed that Chris Nolan couldn’t push the envelope much further.
But the zero gravity sequences that are impressive, even from a CGI point of view, become even more ridiculously mouth watering when you find out the mechanics behind a scene now being dubbed ‘the hallway fight’.
“One of the coolest things about it is that we kind of did it for real,” Gordon-Levitt said “He put me in the middle of this set that spun around 360 degrees or he hung me on wires or put me on this seesaw contraption,”
Out-doing his work on the Dark Knight was always going to be a challenge but like the idea of Inception, when it comes to the creative mind of Christopher Nolan it’s safe to assume that anything is possible.