Who is Looking Forward to Nolan's "Inception"?

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No, not ''TDK'', or ''Begins''. Not ''Memento'', ''Prestige'' or ''Insomnia''. Capable in adapting others ideas, Nolan is with ''Inception'' for the first time (in a long time) what you call ''the auteur'' of his movie (after that great debut called ''Following''), he is a scriptwriter and director. And again, this time at his craftsman's peak, creative turmoil and storytelling all in once perfected as a single shape of purity, he is changing the very paradigm of movie storytelling.

The concept of ''Inception'' is extremely ambitious, at first sight - your typical hollywood ''high concept'' that very much succeeds in surpassing average moviegoer's mind, a cult (like ''Blade Runner'') or, even more so, all that, and then more like action-filled no-or-little brainer that underlines the need for greediness, for mindless action instead of focusing on what's right and what's fair - the story (like ''Total Recall''). No, ''Inception'' is none of those examples, this is not an adaptation of Phillip K. Dick, but at the same time this is ''the dickiest movie of them all'' - in smarts, in heart, in yearning. Totally filmic, purely thoughtful and presented in the very best pictures, it's a movie equivalent of P. K. Dick's prose: the high concept is known, but not explained. You are deep in it from the very start, when you watch it, you feel it right there - inside - thumping hard.

There's no track of endless philosophical babbling we've seen in ''Matrix'' (second and third part - he means , there's no playing with designer glass coolness of those movies, the movie itself is cool - effortlessly. And yet, ''Matrix'' is the last movie before ''Inception'' that dared touching that sacred concept of 'I'', ''Mind'', ''Perception'' and ''Thought'', all mixed in one big hollywood picture. People didn't get one thing: it was all about Morpheus and his tellings, it's about what ''we'' did, not ''them''...later on, someone pointed to robots and said - there's your enemy, right there. So it turned out to be good vs. evil story and, we all know - that didn't turn well with sequels.

In ''Inception'', Nolan is not making that same mistake. There are no villains. There's this job, interested parties, great unknown space of human consciousness, awareness, subjective experience and traumas that lie somewhere ahead - our internal spaces, epic vastness of uncertainty that promises more dangers than any villain out there. Nolan is a genius because even those dangers are not presented in a clear way. Drama is here, inside the character (like Euripid masterfully did it, many, many years ago)...only this time - literally. There are no villains. Magnificent strike for a man who presented us the most memorable villain in a long time.

Stories from the perspective of modern philosophy will be told, there's no mistake there, but not by me. The only thing you need to know right now is this, once you start watching it, very closely and from the very first second, you will imediately know one thing: this is smart. Visually, story-wise; intrigue and drama and tragedy are all there...and redemption.

Nolan's movies were always like a puzzle. Escherian poster for ''Inception'' is just like that, just like the movie itself: dream/reality, consciousness/subconsciousness, active decision/passive listening, the very core of a human being. Enigma of this proportion is already implanted in each and every one of us, the thing is - Nolan made it architectualy relevant - you believe it, he really made a miracle.

Leonardo Di Caprio is possibly one half of this movie. He looks and acts like a movie version of Chis Nolan. With ''The Departed'', ''Revolutionary Road'' and ''Shutter Island'' (recently), he willingly decided to be the very best out there, and here, guess - he is. Like a derivative version of all these previous characters, you really care for Dom Cobb. You might as well say Di Caprio is co-author of ''Inception'', he's that good.

Pfister's visuals are, as usual, stunning, photography is kind of watery, eteric, fluid, with Guy Hendrix Dyas ( scenography - last time seen in ''Kingdom of the Crystal skull'') doing the props and design and all these things you see behind your beloved characters. Visual effects - well, you think you know what they can do these days? Think again and think fast. ''Inception'' is dreamily, effortlessly grinning in the face of gravity and mother physics. Every single movie out there will not prepare you for this. I will not even try to explain what kind of dreaded montage some people needed to overcome in some sequences, but there is not one second wasted I can tell you. Ok, Hans Zimmer is still doing his usual partiture...thingie, but he's doing it good so you won't mind (he's not much of a Zimmer fan Still, music is the only dot that is not perfected like the rest of the parts - the only thing that says: ok, this is brilliant, but not ''best movie of all time'' brilliant.

None the less, he belongs there - with the very best. Christopher Nolan achieved, after 114 years of movie art, something that was considered impossible (at least when you look at those recent summer disasters) - he changed the way we perceive storytelling. The way we absorb and thoroughly think and cannot sleep after one long night in cinema. With ''Inception'', he did it bravely - he shot his masterpiece.

I'm not. I find Nolan to be overrated.

"Inception" works for the viewer, in a way, like the world itself worked for Leonard, the hero of "Memento." We are always in the Now. We have made some notes while getting Here, but we are not quite sure where Here is. Yet matters of life, death and the heart are involved--oh, and those multi-national corporations, of course. And Nolan doesn't pause before using well-crafted scenes from spycraft or espionage, including a clever scheme on board a 747 (even explaining why it must be a 747).

The movies often seem to come from the recycling bin these days: Sequels, remakes, franchises. "Inception" does a difficult thing. It is wholly original, cut from new cloth, and yet structured with action movie basics so it feels like it makes more sense than (quite possibly) it does. I thought there was a hole in "Memento:" How does a man with short-term memory loss remember he has short-term memory loss? Maybe there's a hole in "Inception" too, but I can't find it.

It has the same mood as The Dark Knight. Hell, even the posters look the same.
I'm pretty sure, I'll check it out.