Christopher Nolan
Inception

It might be the fault of a boring Saturday night among teenage boys, or my annoyance with the batman, the fact is I don't have a positive memory of the "Dark Knight" I saw at the cinema. Perhaps also due to the glorification of Heath Ledger after his tragic suicide, which put the "Dark Knight" on everyone's lips; and led to a disordered abuse of the word "genius".
The fact is that I found the film itself rather weak.
For example: Batman, the terror of criminals, a muscular playboy in a costume with a dual personality, goes into crisis when the Joker, with a bit of shallow philosophy, reveals to him that they are two sides of the same coin.
That good and evil complete each other etc. etc. The heavens open: Batman becomes confused and disturbed, and every time he is about to eliminate the Joker, he withdraws, tortured by doubts, dragging the film out.

I realize that in a Marvel comic even the slightest hint of the ambiguity of human nature can have the effect of a fiery elephant in a china shop. But this certainly doesn't add depth to the characters and makes all those troubles of Bruce Wayne rather dull. While I find somewhat superficial the comments that define "The Dark Knight" an essential work just because it isn't consoling.
Okay the premises could have been good, but they weren't really developed, made palpable. Keeping Batman's pain flat in the same way he appears flat when he waggles in the sixties series.
So in the end, coming out of the cinema, I felt I had wasted my money and an hour and a half of my precious life. Which is why, as they say in the testimonials of fake customers in teleshopping on private networks: "At first, I didn't believe it but then I was amazed by the results".
And so I had to change my mind about Nolan who with this film has produced something sensational.

"Inception" is the story of a personal drama disguised as metaphysical sci-fi in its meanings and dreamlike in its atmospheres.
Nolan drags us into a double game of Chinese boxes, both at the level of the plot and the story itself: that of Cobb, the idea thief.

I absolutely can't reveal anything because it would be a real mistake.
However, I'll tell you what you already know: Leonardo DiCaprio is excellent as always, the pairing of Joseph Gordon-Levitt and Tom Hardy is successful, and Ellen Page is delightful.
The aesthetics are compelling, with dreams resembling luxurious hotel rooms and twenties seaside villas. The locations are exotic. But I must be careful not to say too much; and I'll do what generally shouldn't be done in a review. I will not say what it is about but rather the effect the work in question has, the feelings this approximately two-and-a-half-hour psycho-drama aroused in me.
In the same way, if you will, as Proust who recounts the vacation house not for what it was but for the emotions that his memories aroused in him. He relives it through his emotions. Oh God, not that I have all this ambition, but because this is, in my opinion, a Proustian film.

Here our dream thieves know that the mind deforms reality and maneuvers it, and not vice versa. Ignoring Freud's rules on dreams and the subconscious, the dream becomes a real and malleable place. Where the most remote memories and feelings of guilt become dangerous saboteurs. They have a grim look and hold a gun.
For this reason, if you are in a dream, you must be careful not to use memories because then everything can be unpredictable. The comparisons with the famous "Blade Runner" and "Matrix" were abundantly made, but it is good not to be misled.
"Inception" is neither a heist film, nor an action film, nor least of all a science fiction film. No action, nor shootouts with acrobatic jumps.
Or rather, yes, they're there, but they don't dominate the scene.

A little comparison: In "Matrix," if you strip away the cyber-punk veneer and the spectacular fights, what's left is a rather simple storyline. Our Neo decides to rebel, makes choices, finally finds love and eliminates his antagonists. A rather common story. But if we do the same with "Inception," if we remove the most dreamlike scenes and the part defined more "cerebral" (but trust me: do not believe those who use this term to make it seem like a heavy or abstruse film, because it is not at all) there the plot still retains depth and meaning.
There are still situations and developments that keep the interest high and capture the viewer.

Of course, it doesn't make sense to remove the features that made "Matrix" famous, but it's useful to highlight the really strong points of "Inception" and uncover some inaccuracies spread by certain critics. But this criticism, mine, which is cultured and brilliant, only wants to talk about Nolan's skill. Which lies precisely in being able to do what a viewer, or reader, should expect in a work.

Not so much to give ALL the answers, forcing the logic and making the work less credible, but to know how to make it credible.
And in the end leave you satisfied because everything works and you no longer have to ask yourself why there was this or how that worked. This magical mechanism didn't work in the "Dark Knight." Here it does.
Always like in teleshopping, Nolan "sells a dream but delivers high-quality entertainment".
Maybe it will win awards, maybe not; probably many words will be said and maybe I am judging only based on the effect it had on me.
Maybe.
But it is certain, and on this I am not wrong, "Inception" is a film to be seen.