** 2nd Note: I didn't realize until after posting how much the picture of my son, above, matched the opening shot of INCEPTION. I love coincidence!
The cast in general is excellent, especially Tom Hardy and Joseph Gordon Levitt, who provide the only spots of some much-needed humor. I definitely have some quibbles: similar to THE DARK KNIGHT the editing feels a little too choppy and disorienting, not giving enough sense of space - this is especially apparent in the chase sequence in Mombassa, where I almost saw Leonardo DiCaprio jump, run against a wall and leap over a car. or maybe I didn't, since everything happened so fast. And then there's the aforementioned tone, which gives the movie the impression of taking what is essentially a crime thriller way too seriously. Each spot of humor - from the various examples of what a "kick" is, to Joseph Gordon Levitt's stealing a kiss from Ellen Page (who is wonderfully but poorly used as an exposition device in the film) - feels like a breath of fresh air, and reminded me of how much fun the movie could be. And then there's the obligatory ambiguous ending: I know that if you have a movie about dreams that you're almost required by law to end your film with "Is it or isn't it?" but I think Nolan would have made a stronger statement had he landed definitively one way or the other.
But here's the rub. Despite all that, I genuinely enjoyed INCEPTION, so much that I went back a second time, which I also enjoyed. But the questions I asked myself each time I read another lengthy essay expounding on the utter failing of the film or the evidence that points to a work of genius on multiple levels, is this: Why are we so insistent on one extreme or the other? Can it be enough to say the film is solid? It's not perfect by any stretch of the imagination, but it works enough for me to unequivocally recommend it? And am I allowed to see it simply for what the movie shows me - an inventive heist film with the shades of noir that bring me back to those weekend afternoons on the couch, devouring those black and white images that flitted across my tiny tube television?
I wonder if Christopher Nolan feels the same way.