It’s a solid film made absolutely brilliant by the last four minutes. Between the conclusion’s editing, the tension of a simple passport stamp, plot resolution, then having that clear resolution ripped away from you, and Zimmer taking his amazing score to new heights, I mean...cinematic perfection.

The ambiguity is the point: not that it is ambiguous to us, so “WHOA MAYBE IT WAS ALL A DREAM”, but that Cobb no longer cares and is willing to move forward with his life.  That’s the critical point, and answering the question yes or no takes away from that character growth.

It’s not even ambiguous.  But for people who only think it’s a pretentious piece of crap, you wouldn’t think otherwise.

Somenthing I hadn’t realized until now is how well it fits William Gibson’s Neuromancer. Replace cyberspace with its dream tech and it’s just it: the perfect prototypical cyberpunk movie.

very much agree on Interstellar. That’s the kind of movie that happens when a creator is given too much freedom. Nolan needed somebody who occasionaly said “No” during production to clean it up a bit.

Nolan really seems to like to play with perception of time, either with the characters themselves or with the audience. Inception, Dunkirk, Interstellar, Insomnia, and Momento all do it pretty blatantly and The Prestige does it a little too. Of his big movies, only the Batman films don’t. Looks like Tenet will, if it…

Lol...well of course whether something is good, bad or overrated isn’t a factual state, it’s certainly subjective.  I know plenty of people that either don’t understand or appreciate it, or in your case I suspect, simply don’t feel invested in it.  Fair enough.  Holy crap, though, it *so* spoke to me.  I was on board…

I thought the same thing the first time I watched it, and while it was not the case, I still like the idea of it. Would have made for an interesting twist at the end.

I would argue that the nature of existentialism is such that it’s like a word you repeat until it no longer makes sense. Inception explores that idea to an extreme. Nolan is basically asking you at the end of the movie if it’s important whether it’s real or not. Cobb has clearly decided at the end of the movie that it…

I was just listening to some of the soundtrack while I studied.

People make fun of the bombastic score, but I love it (agreed on the ending).

I liked it. A little too expository, a little too ham-fisted, but visually wonderful. We don’t get too many big budget high-concept scifi films that hold together as well as Inception. Probably the second best Nolan film, after Memento.

Inception is one of the coolest movies of the century so far. Smart, clever, and deliciously eager to have fun with its premise, from MC Escher-esque stairwells to the tumbling hallway sequence, it’s just a hell of a good time.

This movie’s awesome.

I was never fully aware of "you always start in the middle of a dream" until this movie, and now I always ponder "how the hell did I get THERE?" thinking on dreams I recently had.

I haven’t had lucid dreams in over two decades, but I used to at some point in my life; it developed as a defense mechanism during a period when I had intense recurring nightmares / night terrors, so at some point I developed the ability to reason with myself in a dream and logically force myself to open my eyes,…

Seconded :)

After I saw the movie, I had many lucid dreams.   

The final hour and change is still one of the most sensational acts I’ve seen. The stakes and urgency constantly get raised, the visual effects are in competition to trump what came before, and Cobb coming to grips with his mind-perverted Mal still hits as an emotional punch by the end, and yet I never felt lost…

I popped in my Blu-ray copy of Inception a few weeks ago (physical media forever!) and was similarly impressed by how much I enjoyed it again after a handful of years since my last viewing. I had, originally, just taken the story at face value and didn’t catch on to the hint that the whole thing could be one big meta…