Time and time again, Nolan has proven himself a master of anticipation.  He made his first feature film, The Following, for $6,000 at 28 years of age (in 1998).  Not only did he get it into Sundance, he was nominated for the Grand Jury Prize!  That film grossed less than $50k, but Nolan was noticed - and garnered a $9 million budget for his next picture, which became a cult phenomenon; Memento grossed over $25 million.  Since then, he's had budgets and stars falling at his feet to work with him.

His next films - Insomnia, Batman Begins, The Prestige, and The Dark Knight - true to his earlier work, all explore the dark recesses of the human mind in a very stylistic manner that pairs thoughtful viewing with Hollywood sensationalism.  Inception is no exception.  From its first frame, it demands the full attention of its audience.  More than any of Nolan’s worlds before now, this world is complex.

This complexity is both a blessing and a curse.  This new world brings with it a novelty; it is so new, so fresh - that audiences spend a great deal of their energy gawking at the sheer cleverness of it all.  However, presenting a world this complex requires a truly gifted screenwriter - one who possesses a knack for presenting exposition without it feeling like exposition to the audience.  Nolan’s gifts as a director, unfortunately, fall short here, as proven by his the weak second act that doomed Insomnia and the unnecessary fourth act of The Dark Knight that prevented it from being the greatest comic adaptation of all time.

Historically, Nolan has co-written his own screenplays with his brother and/or producer David S. Goyer.  The one exception, Insomnia, turned out to be Nolan's weakest film to date.  Inception follows this trend.  The exposition is blatant, much of the dialogue awkward or weak.  Add a sub-par performance or two by your principle cast and the script stands out to even the least discerning audience member.  Regardless, the concept at the center of Inception is so fascinating, and the action-packed third act is so captivating, that most viewers will be willing to forgive the script its shortcomings.  For after all, the exposition is necessary in order for the audience to make sense of what’s happening. 

The star-studded cast, like the screenplay itself, is overshadowed by the feast for the senses that is the film itself.  Some have nothing to work with, while others seem to be going through the motions of acting an action picture - not realizing that Inception is so much more.  DiCaprio pulls the film along well when it’s action and exposition, but when his character must go through an intense emotional experience - one that should serve as the heart and soul of the film - he’s not up to the challenge.  Ellen Page’s architect is the most devicive character ever, existing solely for the sake of exposition; she has nothing to work with.  Ken Watanabe is either half-asleep or the sound mixer forgot to turn up the volume on his microphone; half of his dialogue is incomprehensible.  Even the lovely Marion Cotillard is somewhat flat. 

The true stars of the film are actually those whose names don’t appear on the poster.  Cilian Murphy and Joseph Gordon-Levitt turn in solid performances in their roles.  Dileep Rao’s race to survive the never-ending van chase is surprisingly believable due to an earnest performance.  And Tom Hardy steals the show as the sarcastic, unphase-able Eames.  These men all deserve a raise!

Despite a flawed script and some less-than-stellar performances, Nolan’s brilliance as a director - and the fascinating concept itself - overshadow everything.  Inception is a gripping roller coaster ride of great technical filmmaking, amazing special effects, and the most fantastically orchestrated (hour-long) climax you’ve ever set eyes to.