Favorite films

Initial Score: 10

-Dreams are subjective realities which so often at the time seem like the real thing we don't question the reality we're presented with, it's only after waking up do we realize our perception was flawed. Lucid dreaming however, is the ability to identify when in a dream even being able to control what occurs and it's this ability Christopher Nolan seems to be most interested in playing with in Inception. Nolan started on the script while filming Memento, a brain twister in it's own right and seeing the finished product 9 years later reinforces my belief he used his previous films as practice for what is one of the most ambitious works ever filmed. The nature of reality is tricky to explain or prove definitively but you know what it is much like oxygen, but what if a lucid dream simulated reality and reality felt dream like? Christopher Nolan is a master puppeteer when it comes to making the audience define reality from fantasy all the while dropping enough hints for us to figure it out and not leaving us in the dark as long as we pay attention not letting Inception's seemingly straight forward plot wash over us as so many modern movies let us get away with.

-Dom Cobb played by Leonardo Dicaprio is the most skilled extractor in the business, that's what you call someone who with the aid of technology is able to steal any valuable idea one might have while sleeping. When attempting to extract from rich businessman Saito (Ken Watanabe) he's countered with a proposal to do the opposite, Inception; the insertion of an idea into one's head for as yet unknown benefits. Saito dangles the possibility of Dom being able to return to his 2 kids in the U.S and settle the fate of his wife (Marion Cottilard) without fearing criminal punishment for as yet unknown crimes in front of him and having done it once before accepts the proposal before Saito says "Assemble your team". Which is exactly what he does and how we're introduced to Arthur played by Joseph Gorden-Levitt in his most impressive role to date Arthur is an extractor too and in many ways similar to Cobb. Next is Eames (Tom Hardy) a forger capable of impersonating in dreams, then Yusuf (Dileep Rao) a chemist who concocts the sedatives needed to keep everyone asleep long enough to pull off the heist. Araidne (Ellen Page) a prodigy architect capable of designing elaborate pathways in the mind is the final recruit she's introduced by Michael Caine who plays Cobb's father in-law Miles who also taught Cobb a former architect himself.

-With the team introduced in typical heist movie fashion they plot against the target of inception Robert Fischer Jr. (Cillian Murphy.) Along the way Cobb teaches Ariadne the ins and outs of dream manipulation which acts as a brilliant tutorial device for her as well as the audience giving both a clear understanding of the 3 levels of dreaming. First the dream, then a dream within a dream, and finally a dream within a dream within a dream all of which would be impossible to display without confusion especially when juxtaposed to reality had it not been for Nolan's clever rules and logic keeping all the layers plausible without alienating the attentive viewer. Most impressive of which is the rule of time moving progressively slower the deeper into a dream which you go so with 3 levels of dreaming and reality there are effectively 4 clocks simultaneously counting down adding dramatically to the tension felt each step of the way.

-At one point an entire city folds in on itself in perfect symmetry, a gravity defying hallway fight ensues as if the combatants were swimming, and a van takes an hour to fall off a bridge all these moments rank among the most impressively choreographed action scenes ever filmed.

-Inception has many influences from the greatest sci fi's such as The Matrix, Dark City, and Blade Runner to Nolan's own Memento and The Dark Knight, but Shutter Island seems to be the most obvious since both films have Dicaprio successfully playing a burdened protagonist who'd feel at home in any noir, play with his perspective, and feature strained relationships with his wife.

-The true genius of inception is like it's 3 levels it has 3 levels of comprehension every engaged audience member must go through. First because of Nolan framing the big picture in a fairly straight forward manner the actively engaged viewer may lose sight of many fine details but retain the grasp of the plot, then upon further inspection of those finer points beyond the general plot even the most perceptive viewer will reconsider their position on several plot points. And finally in retrospect to the general plot, the carefully laid out trail of breadcrumb details ambiguously leading to multiple conclusions, and fusing them to adhere to the rules Inception sets up the reconsidered notions can be concluded upon or be put under even further scrutiny.

-The mental defenses Fischer projects act as the catalyst for nearly all of the gunfire, explosions, and chases making Inception one of the most entertaining action movies I've ever seen at face value. Because of how well edited the action is the personal stake we the audience tie to the conflict is never cut; we're always interested because we know what failure would mean for the team.

-Hanz Zimmer's score relentlessly adds to the tension and intensity of the time needed to pull off the inception and as a clever nod to Nolan's universe Zimmer constructed a score to reflect the slowing down of time: http://www.youtube.com/watch?v=UVkQ0C4qDvM

-Inception like 2001: A space Odyssey is about ideas and scope more then the characters but unlike 2001 We're given with at least 1 richly developed lead who has enough sullen looks and emotional complexity to make Orsen Welles proud. Leonardo Dicaprio in one of his best roles in an already admirable career displays once again all the negative emotion a man can carry with him. Ultimately however, it's Nolan's script which allows Cobb to drop one or two details at a time along the entire way that by the climax his character arc is revealed to have more heart and significance then the entirety of casts in many other films. The supporting cast isn't entirely developed but they don't need to be this is Cobb's story the other players are meant to act as functions within the scheme of the inception and even with that Ellen Page manages to wring every last drop of concern from her character. Joseph Gordon-Levitt takes the mostly silent strong approach with just enough playfulness to come off as a likable and essential second in command, Ken Watanabe in contrast to his villainous role in Nolan's Batman Begins is someone who we grow to care for and displays a wide range of feelings of authority mostly wisdom alongside Michael Caine. Dileep Rao displays an archetypal obsessiveness for knowledge men in fields of knowledge often have and yet has a likable warmth to him, and Marion Cotillard is incredible displaying many different emotions often switching them at a moments notice never missing a beat in dialogue.

-In a time where originality is sorely lacking in movies evidenced by endless sequels, remakes, and spin offs it's nice to see something as creatively original as Inception and even nicer to see how such a multilayer patchwork of reality and fantasy rewards multiple viewings as well as incisive analysis giving a viewers a point to go through it again beyond sheer entertainment value. Also unlike films like Mulholland dr. Inception isn't confusing for the sake of artistry or atmosphere it's not really confusing at all on the surface but it's the richly layered details within details which leave audiences in heated discussions long after the credits roll making us ponder over every scene in multiple perspectives for better or worse. The labyrinthine metaphors beautifully litter every frame because while Inception is paced briskly we still have the architecture of how confusing the film could have been in the back of our minds.

Initial Score: 10

-A misunderstood and underrated masterpiece, EWS is a work of art that lives up to the Kubrick name filled with a myriad of subtle nuances this engrossing story rewards all willing to soak up what it has to offer. There's a lot going on here but put simply this is a movie about a man who's insecurity and curiosity lead him through a psychological nightmare cloaked in death, deceit, and sex all of which hang in the air at all times.

-After a brief introduction to the Harford's they arrive at Victor's Christmas party where the couple through circumstance become separated and each hit on by the opposite sex during which Bill is called on by Victor to care for a prostitute named Mandy. Neither initially has a problem with the other flirting but the night after a heated argument spawns from the mutual flirting. Alice is appalled Bill wasn't jealous of the man she danced with taking it as her sexual appeal is all she has going for her, Bill rebuts with his belief of women requiring love before being able to have sex. His confidence in her faithfulness makes Alice laugh and admit weakness a year earlier of being willing to abandon him and their child for a mystery man. You can really empathize how he felt on the way to the deceased patients apartment the visual imagery Bill has of his wife and the mystery man fuels the chain of events following.

-Marion confesses her love to Bill and I liked how it echoed his wife's recent confession further shattering his ideals on female sexuality, which is what probably leads him into the arms of the prostitute where once again his faith is tested.

-Throughout, Bill uses his money and doctor status to get what he wants out of people which parallels how the men in EWS objectify women and use them to get what they want as well, this is smart commentary on how people think of others as commodities not people.

-The strange and sexual tone Kubrick keeps throughout is tautly controlled along with each scene so the deliberate tension created by looming threats works very well and it's the greatest strength of the film. I equally appreciated the narrative which Kubrick paid special attention to to make each encounter Bill had an episode itself so the film is more like a dream which is part of the title of the novel EWS is based on I expect no less from Kubrick.

-The black and white mental images Bill has of his wife and the naval officer are cleverly in contrast to his grey area principles continue to plague him on the way to a mystery party and throughout the entire film spur him on to pursue the on goings of what he witnesses at the mansion. The entire orgy scene is a disturbing way to portray sex and further advance the intent to shed the superficial appeal of sex and reveal it can be frightening.

-EWS has one of the best supporting casts of any film I've ever seen everyone in their own way contributes to Bill's journey and the actors play their parts equally well. Nicole Kidman gives the best performance of everyone showing the intensity of her character and somehow makes it so that what she doesn't say has a presence even when shes off screen. Sydney Pollack plays a somewhat father like but mostly self indulgent and successful sexual deviant friend to Cruise, while Todd field the pianist who Cruise hasn't seen in years is happy to reunite with his buddy and gives a whimsical performance. Rade Sherbedgia the rental service man who later rents his daughter to others is charming, Vinessa Shaw is the uncommonly kindhearted hooker, and Marie Richardson plays a distraught woman who shares the same impulsiveness Bill's wife once did.

-The final act where the previously assumed double murder of Nick and Mandy are explained and Bill takes Victor's explanation at face value where the happy ending wrap up between him and his wife follow took away some of the mystery. Sometimes questions such as who put the mask on Bill's pillow are better left to be pondered not definitively answered. However other then Victors word no evidence is presented showing Nick and Mandy weren't killed for their actions against the orgy so the possibility of conspiracy still remains. Mental infidelity can be just as devastating as the real thing and although the Harford's try to go back to normal it won't be the same because they've chosen to be honest with each other and themselves.

Repeat Viewing Score: 10

Initial Score: 10

-Movies are not meant to simply entertain but also to be experiences in and of themselves, (hopefully) engaging audiences in a way that makes them feel as if there is a point to what they're watching but more importantly just making them feel something. In Martin Scorsese's Gothic thriller meets film noir the point lies in Shutter Island being as much of a character as anyone who inhabits it evidenced by nearly every frame being filled with a grimness that can't be scrubbed away. It's exactly this looming sense of foreboding he chooses to indulge in that makes Shutter Island as much a visual and auditory treat to be felt as an intellectual challenge to be pondered and discussed long after the credits roll. Martin Scorsese one of the greatest directors of all time is a master of defining time and place so it's only natural to hand him the reigns on a property that lives or dies by how evocative it's setting is. I'd wager if anyone else directed Shutter Island the atmosphere of subdued glumness wouldn't reach the same palpable levels thus diminishing any sense of urgency for the audience to relate to the dread Leonardo Dicaprio's character Teddy Daniels experiences once he arrives on the Island.

-Often great films which require the audience to do more then a little heavy lifting are frowned upon initially for that exact reason or simply because at the time of release they aren't fully comprehended or appreciated. This sad truth holds even more weight in today's current climate where too many films come neatly wrapped in easily digestible packages further conditioning audiences globally to be completely passive viewers rather then the actively engaged movie goers some movies require them to be. Shutter Island is one such great work of art I feel has been dismissed outright rather then analyzed at length as intended by Scorsese which is sad because he's left us with a great film that contains many nuanced details that reward incisive viewers. Hopefully in time those who have made simple and misguided conclusions about Scorsese's latest work will at the very least consider their position on it which I'm hoping a second viewing will encourage people to do.

-In 1954 off Boston, U.S Marshals Teddy Daniels and his new partner Chuck Aule (Mark Ruffalo) arrive at Shutter Island to investigate the disappearance of Rachel Solando (Emily Mortimer) a patient at the Ashecliffe hospital for the criminally insane. This simple plot turns into a labyrinthine mixture of truth and lies created by the staff at Ashecliffe who's mannerisms tell Teddy and Chuck they aren't being given the full scoop, and that something else something darker is going on here and as long as they're here they're going to find out what. The thought that someone could escape the heavily guarded confines of Ashecliffe let alone find a way off Shutter Island when the ferry which is the only means on or off hasn't been used since the marshals arrived is a tough pill to swallow yet only the tip of the iceberg. The less of the plot revealed the better for first time viewers however it should be noted that Teddy is somewhat of an unreliable narrator. The lines between fiction and reality are blurred several times requiring viewers to deduce and cut through the intricate web as if they were Teddy and Chuck's silent partner.

-Leonardo Dicaprio takes on another Boston accent as Teddy Daniels in a role cementing him as one of the best actors currently working, he is pitch perfect as our flawed hero. Every film noir worth it's weight in stylized dialogue needs a protagonist plagued with pangs of guilt for past sins and Teddy isn't lacking in that department. It's obvious in the creases of his face and clothes that he constantly feels as bad on the inside as his tie makes him look on the outside. Dicaprio studied his genre well because the trappings of a man attempting to compensate for his past usher out a obsessive, unhinged intensity we haven't seen from him before. Mark Ruffalo doesn't bother channeling the logical fact gathering drive he had as a detective in Zodiac, he takes a backseat to Teddy playing a strict support role. However, the few lines he gets early on show promising glimmers of what might have been a very prominent counterbalance to Teddy's manic behavior. Ben Kingsley doesn't have to lift a finger to exude the creepy and more then meets the eye attitude of his character Dr. Cawley. A man who seemingly has the key to unlock all of Shutter Island's secrets puts all his effort into saying how helpful he wants to be rather then actually being helpful and even at times impeding Teddy and Chuck's investigation or are the hindrances out of his control? Either way he personifies the atmosphere of Shutter Island casting an atmosphere of doubt and mistrust upon himself as much as everyone else. He and Dr. Nahering (Max Von Sydow) know something that there pleasantries toward the 2 protagonists betray and it's exactly this feeling of cover up that frustrates Teddy especially because while trying to keep it together he also has this uphill battle for information ahead of him. However can we sympathize with a character who's perspective is not as objective as one would expect? This is the question teasing audiences as they involve themselves with the mystery of Rachel's disappearance.

-What makes Shutter Island a masterpiece is it's ability to weave the unsettling feeling such an island fortress emits with the similar feeling doled out by it's inhabitants while at the same time making the audience figure it out along with Teddy and Chuck. There's no simple curtain pulling going on here, like in true film noir fashion we're subjected to question constantly and be apprehensive of those around us making it that much harder to see through the haze of deceit laid out before us. The stormy skies, the on edge men with guns, the demeanor of the patients, all tie into something that doesn't quite add up in Teddy and Chuck's mind but even when all is said and done Martin Scorsese won't lower himself as to spell it out for us just because we're spoiled by all too familiar explanations. No he respects the audience's ability to reason as much as he respects the medium's ability to make the audience feel something.

-For those that have seen it at least once a friend of mine wrote an excellent commentary on the ending which I suggest everyone read for further clarification: http://ievolvedintothis.com/?p=91