Christopher Nolan‘s Inception is either one of the most intriguing Hollywood blockbusters of the last decade or one of the most confusing movie ever, depending on your take on things.
On the one hand a big-budget, mainstream feature film was so committed to wowing us with brilliant illogical logic, featuring many layers of story rolling out simultaneously, but on the other hand there were bound to be some mistakes in the movie about entering other people's dreams.
In January, the similarly funny ‘Honest Trailer' for Inception gave the film a kick, and now we've got a similar clip from a competing team that is still more than worth just four minutes of your Earth time.
Here is everything wrong with Inception in 4 minutes or less, which now doesn't seem nearly as great as it was when I watched it the first time.
Of course it's too bad to be true!
However, check it out below, courtesy of Cinema Sins.
I watehed 22 seconds — I saw more mistakes on this film than there was in the movie.
Arthur was not the architect. Mal as the anchor for Cobb’s rope is a symbol — this movie is filled with them. It should be obvious that it is intentional and not a mistake. If you don’t understand something that obvious, than you really should ask before spending your time making a video on the subject. This might have been mildly interesting two years ago, but now it just looks like the jokes on whoever made the comments.
In Reply to Cinema Sins Team:
Guys, you’ve totally missed the boat. The majority of the 36 movie sins you point out are not flaws or editing mistakes. They are clues which indicate that the movie “is all a dream” from start to end. Cobb is dreaming the entire time. And your 4 minute video here supports this interpretation.
All the things in the supposed “real world” scenes you mention (Sins # 5, 6, 7, 9, 10, 11, 12, 14, 15, 16, 17, 18, 23, 33, 34) – these are not errors on the part of Nolan and the filmmakers. They were intentional and subtle and illogical upon reflection – clues that Cobb is dreaming the entire time. There are many “dream jumps” in the supposed “real world” scenes. These are not editing errors: Cobb “dream jumps” into Miles’ classroom; Cobb and Ariadne “dream jump” to the university rooftop; Curtain is open again for Flight Attendant after she retrieves dream machine. In the final scene, more paint brushes appear in the glass when camera cuts back to spinning top. The Mombasa chase abounds with dream clues: Cobol guys popping out from everywhere, they can’t shoot straight, aerial shot of Mombasa town resembling labyrinth, walls closing in on Cobb, Saito popping out of nowhere after Cobb squeezes himself through walls – the kinds of things that happen in a dream. Mal jumping on their Anniversary night has a load of dream clues. Of course you would wait for forensic science…but it’s all a dream…
So how can a movie that’s “all a dream” still have meaning? It can! Nolan wants to show that dream emotion is as real as waking emotion. Cobb can have a positive emotional experience in a dream and overcome his guilt, and it’s as real as any emotional experience he has when awake.
And consider the other Sins listed: None of them are sins if we accept the “it’s all a dream” interpretation of the film. Cobb is just making everything up: the maze Ariadne draws, the dream machine PASIV and how it works, the totems, Fischer not recognizing Saito, guys firing and not hitting anything, passport being stamped when coming into U.S., and Saito can make one call and get Cobb through – none of these things make sense.
#22, Cobb’s dream logic he’s made up is still sound. Third level Snow Fortress doesn’t go into zero gravity because Eames is the dreamer of that level, and in the hotel second level, his body is floating in zero gravity and he’s asleep – Eames is not consciously experiencing zero gravity. Arthur is. What the dreamer of a layer consciously feels dictates how everything else in that dream level behaves.
#30, Cobb’s dream logic is sound. Eames exploding the snow fortress is critical to the series of double kicks needed to move back up one layer while dreaming with a sedative. The only way Eames, Fischer, and Ariadne can get from Snow Fortress to Hotel layer is by riding the free-fall kick of the Snow Fortress in conjunction with Arthur’s elevator shaft kick.
#32, Cobb doesn’t age as fast as Saito in Limbo even though they enter Limbo around the same time. This is because Cobb can control time given he’s an experienced dreamer in Limbo. For Saito, days turn into weeks when he drops there before Cobb – It’s more like hours turn into years.