Nolan's immersive 'Inception' challenges the mind, with a rewarding payoff

One of the first terms that comes to mind when describing Inception is 'mind-blowing.' Yes, it sounds cliched, but it's really one of the only comments that perfectly compliments the experience of watching it for the first time. Director Christopher Nolan's film deserves nothing less than this type of praise, seeing as it delivers on all accounts: story, cast, visual effects, and most important, brilliance. Inception offers a vastly original look at the world of dreams, one that is as intriguing as it is striking. Nolan's vision is a marvel to explore, as we navigate a whole new world he has created with it's own unique detail and complexing rules.

Dom Cobb (Leonardo DiCaprio) is a hired thief in the area of corporate espionage who is able to extract information from the subconscious of people as they sleep. His services are valuable to many, but he plans on quitting the business in order to return home to his children. In order to have his wish granted, he must accept one last mission from a business mogul (Ken Watanabe). Rather than taking out ideas, Dom and his team will have to place one in the mind of a rival business heir (Cillian Murphy), a process known as inception. Dom then puts a team together to fulfill their mission. Included in this round-up are Dom's dream-invading partner (Joseph Gordon-Levitt), an architect (Ellen Page), and a "forger" (Tom Hardy). All the while, Dom is continually burdened by memories of his wife, Mal (Marion Cotillard), memories that he's not at all ready to part with.

Deciphering Nolan's dreamworld is not only a challenge, it's a fun challenge. The film contains an instruction booklet collection of theories, logic, and rules of the subconscious that provide us with an innovative perspective of dreaming. The director offers a fresh concept in the film, that of dreams within dreams, and dreams within dreams within dreams. Like David Lynch's Mulholland Drive, the movie wants the audience to contemplate what is a dream and what is reality. Not only is it fun, it makes for great conversation afterwards.

There isn't a single bad performance in the film. Seeing as most of the cast consists of Oscar nominees, that's a given. The two standouts are DiCaprio and Cotillard. The romance between Dom and Mal manages to be compassionate and haunting all at once, and serves as the emotional focus of the film.

The visual effects are every bit as alive as the cast. They don't bombard the audience with in-your-face explosions one after the other. They serve the story with a purpose, and that is to move it foward. The action scenes and fights are expertly choreographed. One of the showstoppers is a fight that takes place in a hotel hallway with zero gravity. Lee Smith flawlessly edits these sequences, all while cutting through each dream level, always letting us know what is happening to each character.

Christopher Nolan has become a new master of the sophisticated blockbuster. He dared to present fresh ideas to the world, and was not hesitant to have us use our heads while watching an action picture. Inception is not as difficult to follow as you would think. All it does is beg you to pay attention, and hand yourself over to the puzzle. In fact, it's a film worth seeing more than once, even if you understood it the first time. Each viewing will present something different, and might or might not change your interpretation of the film's open-ended conclusion. Despite it's 2.5 hour running time, the momentum keeps building, leaving your heart pounding as you wait to see what happens next. Inception is like a dream you don't want to wake-up from.

Final grade: A

Even with an affable cast, 'Cyrus' is a bit of a letdown with its slight lack of originality

The new indie film 'Cyrus,' written and directed by Jay and Mark Duplass, tells the tale of John (John C. Reilly), who is still trying to cope with the divorce from his wife Jamie (Catherine Keener) after seven years. In order to get him out of the house, she begs him to come to a party with her and her boyfriend Tim (Matt Walsh). Lonely and desperate, he reluctantly decides to accompany them. At the party, he meets Molly (Marisa Tomei), a woman who John immediately hits it off with. After being together for some time, he finds out that she has a 21 year old son Cyrus (Jonah Hill), who turns out to be a bit of a momma's boy. Not much later, John and Cyrus are locked in a battle of wits, both trying to win the affection of Molly.

John C. Reilly continues his streak as one of today's best funnymen. He plays John with a charming blend of awkwardness and loveability, and shows a talent for drunken karaoke as he belts out The Human League's hit song 'Don't You Want Me.' Marisa Tomei is a class act as Cyrus' sensitive and soft-spoken mother; and although Molly and Cyrus might not have the healthiest of mother-son relationships, she never fails to be there for him. The standout of the movie is Jonah Hill as the titular character. He proves that he has acting range, throwing in some fine dramatic scenes in the midst of his whacky antics.

'Cyrus' is a simple, very human story. But its simplicity is also a weakness. The first half of the film is funny and enjoyable as we're introduced to the quirkiness and realness of these characters. By the time the second half rolls around, however, the film becomes predictable, and we all know what will happen in the end. If the movie was a little longer than ninety minutes, maybe there might have been a chance for the directors to tweak the story a little bit, and bring it in a direction that we wouldn't expect. But the ensemble works well with what they're given, and they make 'Cyrus' more memorable than it should be. Because of its predictability, you just leave the theater wishing for a better emotional impact.

Final grade: B

'Toy Story 3' is a beautifully bittersweet finale to Pixar's one-of-a-kind trilogy

It's hard to believe that already fifteen years have passed since Pixar reached a moviemaking milestone with Toy Story's dazzling computor animation that charmed all of its viewers. The adventures of Woody (Tom Hanks), Buzz Lightyear (Tim Allen), and their playtime friends have found a special place in the hearts of each audience member with every installment in this adored series. Toy Story 3 is Pixar's eleventh tour de force film, and never does it show that they are losing their touch. Nothing in the film feels stale. It all feels as fresh as if it has been unwrapped for the first time. Pixar can set the bar as high as they'd please, and still have the potential to have our expectations greatly exceeded. As expected, they did just that with Toy Story 3, the film that concludes the trilogy that has depicted the childhood experience and the wonders that toys can have on the imagination.

In this installment, Andy is finally headed for college. Hard to believe, right? It really goes to show how much we grew-up with him and this trilogy. The toys are stressing over their possible fate of being thrown in the trash. When Andy's mom mistakes them for being garbage, not realizing Andy's real intention of storing them in the attic, the toys feel unwanted and sneak into a box that's set to go to Sunnyside Daycare. While there, Woody, Buzz, and company deal with the importance of family, friends, and faithfulness, as well as problems such as separation-anxiety and abandonment. They then set out on a perilous journey to be reunited with the owner they love before he leaves for college.

The film has its share of colorful new characters, such as Lots-o'-Huggin'-Bear (Ned Beaty) who is the leader of the daycare toys, an eerie-looking doll named Big Baby, and most notibly, Barbie's (Jodie Benson) significant other, Ken (Michael Keaton). Watching their love for each other blossom is a treat to witness, seeing as their relationship is being portrayed on screen after their huge popularity in toy stores. What could be more appropriate for a movie series titled Toy Story? One of the movie's other highlights is an exciting sequence of the toys trying to escape the dreaded daycare center that's highly reminiscent of John Sturges' 1963 film, The Great Escape.

Toy Story 3 gives its viewers a lovely pattern of emotions throughout the adventure. There's the feeling of immense delight at the first frame of the movie when we're reunited with our favorite playtime buddies, and when Randy Newman's Toy Story anthem, 'You've Got a Friend in Me,' begins to play; as well as the feelings of gloom and apprehension that come with thinking about the possible separation of the toys from Andy along with the bleakness of their future. Between it all, there are some truly funny moments to give the thought that maybe, just maybe, Woody and his family might be all right in the end after all.

Pixar has accomplished something wonderful: creating a trilogy where all three films possess the same amount of rich storytelling magic. Given Pixar's track record, they could easily make a fourth entry in this series; however, all would probably deem that highly unnecessary, because this film provides a perfect ending for the toys' three-part epic journey. Although many of us that saw the first Toy Story as young children are now adults and have grown out of playing with toys, we could never get too old for Woody, Buzz, and their gripping adventures that have tugged at the heartstrings of anyone who has joined them.

Final grade: A

Michael Douglas's performance in 'Solitary Man' makes it better than your average fall-from-grace parable

One of the best things about Solitary Man is that directors Brian Koppelman and David Levian make sure that their film isn't overloaded with sentimentality. What could have easily turned into your run-of-the-mill redemption story is a tender and realistic film of a man trying to get his life back on track after he loses it all.

A few years ago, Ben Kalmen (Michael Douglas) had everything he could ever want: a loving family, a well-paying job, and a classy Manhattan apartment. Now, due to the inability to control his impulses, he has lost everything. Ben, however, isn't ready to give-up on himself. Even though he's divorced from his wife (Susan Sarandon), Ben is still able to keep in touch with his daughter (Jenna Fischer) and his grandson. Besides that, his new girlfriend Jordan (Mary-Louise Parker) may have the connections to get Ben's career going again. But when she asks him to take her daughter (Imogen Poots) on a college tour, Ben will be faced with the ultimate challenge to see if he really has changed for the better.

Michael Douglas's performance is the driving force of this movie. His character stays comfortably in the realm of believabilty; and never does he try to stretch beyond any further than he has to. The charm of Ben's character comes in the final scene. Through most of the movie, Ben is a morally-reprehensible character. But in the end, when the viewer finally realizes why he does the things he does, he becomes sympathetic with the snap of a finger. Jenna Fischer takes a satisfying dramatic turn away from her comedic role in The Office; and Danny Devito provides a great comic presence as one of Ben's friends from his college days.

Although Solitary Man might use a couple of cliches typically found in this type of story, it thankfully never fully descends into that trap. The film is a highly convincing portrait of a man trying to get his life straight after one too many mishaps. The emotions of the characters and original story help the film stay in the light of authenticity and never gets bogged down by formulaic plot points. It resists the predictible, and stays in the credible.

Final grade: A-

'A-Team' film is highly entertaining '80s nostalgia for the 21st century

I'll admit, I approached The A-Team with some faint hesitation, and with good reason. It was written by Skip Woods, the screewriter of last summer's G.I. Joe, a film surrounded by embarrassing dialogue and middling special effects. The last thing I wanted in this lackluster (so far) summer movie season was another second-rate action film. It was a pleasant surprise to see that Woods and director Joe Carnahan were able to adapt a t.v. series from the '80s into an entertaining adaptation, and exceed our expectations.

In a very enjoyable opening sequence, the film tells of how the four A-Team members meet each other. Colonel Hannibal Smith (Liam Neeson), Face (Bradley Cooper), B.A. Baracus (Quinton Jackson), and Murdock (Sharlto Copely) come together as a group of mercenaries who answer the call to help for those who need it. The film sends our thrill-seeking quartet on a mission to retrieve a series of American-currency printing plates that have been stolen out of Iraq. Throughout the operation, not only do we see the team carry out the task placed in front of them, but we see each of the members' given talents and personalities perfectly mesh together despite obvious, and comical, differences.

Each cast member brings something to this table of explosions, close-calls, and chase scenes. Liam Neeson depicts his next-great-action-star persona impeccably. Just like Harrison Ford, he continues to prove that age is just a number. After a few comedies, Bradley Cooper is a welcome addition to the action genre, and adequately brings some of his comedic skill to the wisecraking Face. Although we all miss Mr. T, wrestler Quinton Jackson is a decent fit for the character, and surprisingly brings some emotion to the role on one or two scenes. And Sharlto Copely is hilarious, and hilariously insane, as the death-defying Murdock.

The action scenes, though quite preposterous, are original, and very fun. Sometimes, however, they are quickly edited, so it's a little difficult to comprehend what's going on, but it's still highly entetaining. Thankfully, they don't overstay their welcome too much, and this allows for the characters to build upon their already established friendships when they aren't in the midst of gunfire and explosions; and the plot is able to move foward. There's also a nice little plot-twist thrown in the later half of the movie. The cast and whizbang action are evenly balanced to make a film that's more fun than mindless. Exactly what a summer movie should be. Director Joe Carnahan didn't make a spectacular action film, but it certainly isn't a mediocre one.

Final grade: B+

'Please Give' is a simple, yet effective story of love, family, life, and death

Written and directed by Nicole Holofcener, Please Give is a comedy-drama that tells a bracingly original story of an NYC woman burdened by guilt underneath her success. The film is a lovely package of varying themes that range from love, to life, to self-image, and is as uplifting as it is gently heartbreaking, and comes with a small dosage of dark irony.

Kate (Catherine Keener) is a Manhattan resident who shares a thriving business with her loving husband Alex (an enjoyable Oliver Platt) selling vintage furniture. She is a caring mother to an image-conscious teenage daughter Abbey (Sarah Steele), and is worried about her daughter's insecurities. On top of it all, Kate puts her family at unease as she has trouble enjoying her success while others are living out on the streets. Nextdoor to them lives an elderly woman named Andra (a humourous performance by Ann Morgan Guilbert), who is cared for by her two granddaughters played by Rebecca Hall and Amanda Peet. Kate's family plans to buy Andra's apartment after she passes away; and in the meantime, tries to develop a friendly relationship with the rude grandmother and her two granddaughters.

Catherine Keener is the picture of a compassionate mother and good-samaritan. Rebecca Hall, Amanda Peet, and Sarah Steele portray their characters with such fragility as they try to confront the dliemmas that life has dealt them, that in the end, the results are all too real and relevant. The characters aren't just relatable to the audience; they also relate to each other through varying themes over the course of the story. As these connections are better identified, the bonds between the characters, along with their respective theme, become stronger.

Please Give handles its characters and subject matter with delicacy. The film delivers its messages with subtlty and never seems preachy. Despite the diversity of its themes, Nicole Holofcener successfully intertwines them, rather than just leaving them in separate pieces. There is a lot of truth to this film, and that is what gives it that extra punch.

Final grade: A-

'Robin Hood' lacks adventure, grandeur

The story of Robin Hood has always been one of the great adventure stories. It told of the famous archer and his brigade of Merrymen from Sherwood Forest who assisted him as he righted the wrongs of Nottingham and stole from the rich to give to the poor. His times of living as an outlaw, his daring journeys, and opposition of his enemy King John always left a feeling of exileration to anyone who heard the story. It's hard to believe that Ridley Scott, the director who graced us with Gladiator, could take all feeling of adventure out of this classic tale. What should have been a thrilling expedition through Nottingham is reduced to nothing but a costume-adventure that's mostly a bore, and leaves the audience feeling empty.

Robin Longstride has been fighting in the Third Crusade for ten years under the leadership of King Richard the Lionheart. Not wanting to fight anymore, he runs away with a trio of friends who decide to abandon their army. The four of them travel back to Nottingham to report the death of a fellow soldier, Sir Robert Hoxley (Douglas Hodge). It is here where Robin Hood meets the beautiful Lady Marion (Cate Blanchett) and a relationship begins to blossom.

Meanwhile, King John (Oscar Issac) is focusing on his new duties as King of England, and is after any and all tax payments from his subjects. Little does he know, his childhood friend Godfrey (Mark Strong) is conspiring against him with King Philip of France, with the intention of starting an invasion of England. Forget about Robin Hood's famous feats of stealing for the poor; because this film is all backstory, and that's not a good thing. It practically ruins the movie.

The real Robin Hood story is out of the question at this point, being reduced to an average medieval period-piece rather than a soaring adventure. But one of the more disappointing aspects of the film is Russel Crowe's performance. He seems to be mimicing his Gladiator role for the whole movie, it's distracting. Cate Blanchett is decent, but somewhat forgettable as Lady Marion. Her character would have been a great deal more interesting if this were the Robin Hood story we're all familiar with, and would have depicted her relationship with him more vividly. Although there are glimpses their romance, we fail to see any sparks ignite. Two of the lone standouts in the film are Oscar Issac, who plays King John with convincing fierceness, and Mark Strong as the traitorous Godfrey.

What should have been a fun medieval quest turns out to be a dull origin story. What made Gladiator so gripping was with its 2 hour and 30 min. running time, it was able to balance dialogue with wonderful battle scenes. Although Robin Hood has about the same running time, it doesn't make good use of it. We get a battle in the film's opening, segments of near-nothingness, some sword-clashing and arrow-flying thrown in on the side, and a less-than-stellar battle in the finale. The very end of the movie show's the sentence "And so the legend begins," but at that point, we feel like Ridley Scott is the King of England and we're his subjects: he took our beloved hero, and we were robbed of the epic that was promised.

Final grade: C-