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Inception’s not the deep wow we might have hoped for, just the big one we needed.Inception: Seven Magazine review, by Jenny Mc Cartney Seven rating: * * * While recounting the detail of one’s own dreams is invariably fascinating, the minutiae of other people’s can be unbearably dull.The physics of each level get destabilised by what’s happening above: when Cobb is dunked in a bath to wake him up, a flash-flood hits him in his dream world.When the movie builds up a head of steam, it’s dazzling and protean, and almost anything seems possible.

Nolan’s plot, his tricksiest since Memento, is such that the second you overtake it, things start to fray – so he isn’t about to let that happen in a hurry. Leonardo Di Caprio is Dom Cobb, specialist-for-hire in the art of “extracting” information from sleeping subjects.Dropping us in mid-mission and giving only just enough to go on, it’s a nifty, show-don’t-tell introduction – one of the reasons why the tell-tell-tell policy from here on in feels overly didactic, like a yammering maths lecturer afraid he’s about to lose you.In fairness, the labyrinths that open up when Cobb and his team attempt “inception” – that’s to say, the implanting of an idea in the mind rather than its theft – do require a hefty ball of twine to navigate.Nolan has a vast budget to play with, and play with it he does, folding Parisian streets back on themselves just because he can.The real novelty of the concept is the layering of dreams within dreams, yielding addictively vertiginous sequences of parallel action.

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