Inception Review Essay

Inception Essay The movie Inception follows Leonardo DiCaprio as Cobb, a character that, through the aid of a machine, can enter people’s dreams and steal ideas. He is asked by a man named Watanabe to plant an idea – what they call “Inception”. Cobb gets a new team together and the mission begins. In order to plant this thought, they have to go through different levels of dream state to make the idea take hold. Many reports I have read, and people I have talked to say that the story is complex and riveting, and that it could even take multiple viewings to fully understand the plot – you don’t. Don’t get me wrong, I don’t think that this film is bad; I just think that it’s not quite what one might call fully original. If you don’t understand this, worry not, for I’ll be going over it in the next few paragraphs. When I first started watching this film, I really enjoyed it. The set up and the explanation of the dream world rules worked well and pulled me in and it looked all fine and dandy, however, the more I watched the more the thought dawned on me that I had seen it all before. It had been described to me as a truly unique film; a foundation idea that no one other director had even dared delve into, a consistent story with little to no plot holes, and a no less than stellar cast. What could go wrong? Well, the story started off brilliantly, explaining the basic rules of the dreams to the audience (A dream within a dream, the kick, and the dream machine being used on the train), and doing it in a way that keeps them engaged and wanting to know just a little bit more than what is given. After this, I think it begins to go slightly downhill, and begins to go off onto the real plot; a hybrid of a love story and a typical heist with a twist. This theme has been used more than an old dish rag. Whether it’s Jason Statham, Daniel Craig, or Matt Damon, they all have one thing in common; they’re being chased by big bad guys while with their lady’s. I would say this ties into Inception as well, but in a way that is anything but cliché. Cobb is trying to find his way home, but at the same time he is trying to settle his inner conflict; his wife is dead, and he’s the only person who knows the truth about what happened. Through the elaborate heist that they’ve set up, Cobb is continuously being haunted by his past, and possibly jeopardizing the whole project, along with his opportunity to see his children again. The romantic sub-plot involves Cobb and his late wife, Mal. Where a romantic underlying theme is possibly the most common thing in the world next to oxygen, this is a new kind of idea of romance. Cobb isn’t portrayed as trying to win the girl in this film, but trying to let her go, and she doesn’t want to leave. I think that this film is a great show of the director’s ability to articulate the plot and meaning of the film, but it has far too many movies of similar stature for the amount of praise its originality has received. Away from the movie as a whole, I can really not think of a movie that has such phenomenal editing, acting, and music. I enjoy the soundtrack for this film to the point where I’ve actually downloaded it and listen to it on a constant basis. The acting is so brilliantly done, and the roles are casted so well that I feel as if this is one of the only movies that viewers can truly immerse themselves into the film, because the actors and actresses are so perfectly fit for their role. The editing of the movie is on par if not exceeding the rest of the movie. The way that the music was synced up

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