Mstrmnd – Matriculation: The Abonimable Snow Job

by InceptionEnding

in Inception Ending

“…As a film about love, killing love and surviving love, Inception is really just an unstable ex-wife thriller, dressed up in computer-age formula. Fatal Attraction meets The Matrix. And the action, the glue of any modern day box office behemoth, is as remote as can be, the subcon extras are less individual than the Matrix’s passersby and agents – Inception is guilty of total blandness of alternate reality design, a formulaic world the result, its action is more a device to exhibit the drama unfolding in other layers, and it’s even lazily staged, no one cheers as the team succeeds, the hyped set piece floating corridor is less than masterfully exploited, when we see the assailants merge in zero-G, its looks as clunky as two mailmen meeting in space. No intense combat, but instead the sterility missing from the spoken exposition’s hysterics.

Let’s end this thing. Debate the film all you want, no one leaves glassy-eyed from the sunlit finale, after headcrunching for two hours plus, few audience members are awoken to the syrupy sentiments of this reunion, the falseness Cobb greets his apparition-children with is too literal to be taken seriously, that they turn to face us from their continuously looping state degrades the ambiguity, whether they age or not. As if addicted to his easy-baked ambiguity, Nolan then toys with whether the spinning top eventually stops, proving what a cheapshot the entire film is. Michael Caine’s Miles, whose suprising appearance at the end is another dead-giveaway, obviously plays the ‘architect’ of Cobb’s dismantling (which turns out is the entire film, it was ALL a dream—after all, he is Ariadne’s teacher). Nolan slyly hints at Miles’s role in the film when she shows up and assumes Cobb is looking for a ‘work placement’ – decode the wordplay and you see what she’s getting at. Her task is to incept the idea and then kill Mal during their trip to limbo. As Cobb’s self re-assembler, the inception of killing off Mal really is his idea, Miles may have guided Cobb from airport to home memory, but he actually guided his path the entire film, hiring Saito, Fischer etc. — finally finding a way to get Cobb’s unconscious to axe, or help axe his wife’s memory when the danger of getting ‘stuck’ in limbo becomes too great an alternate. Except here we’re absolved of the pleasure of meeting them outside their ‘roles,’ here they remain mysteries of variables. Nolan’s ending offers a math solution without the proof, the way bad professors operate. As a stock actor in the Nolan troupe, Caine plays himself again, the patriarch puppetmaster, the deliverer of the joker card in The Prestige and the burner of Rachel’s letter (that guarantees a sequel) in Dark Knight, here he’s the only intentional inceptor of Inception. The question is why does Nolan keep hiding this archetype’s true role?…”

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