आलोचक समीक्षाएं

In terms of sheer originality, ambition and achievement, Inception is the movie of the summer, the movie of the year and the movie of our dreams.

If Inception is a metaphysical puzzle, it's also a metaphorical one: It's hard not to draw connections between Cobb's dream-weaving and Nolan's filmmaking -- an activity devoted to constructing a simulacrum of reality, intended to seduce us, mess with our heads and leave a lasting impression. Mission accomplished.

With physics-defying, thunderous action, heart-wringing emotion and an astonishing performance from DiCaprio, Nolan delivers another true original: welcome to an undiscovered country.

In a summer of remakes, reboots and sequels comes Inception, easily the most original movie idea in ages.

In this wildly ingen­ious chess game, grandmaster Nolan plants ideas in our heads that disturb and dazzle. The result is a knockout. But be warned: Inception dreams big. How cool is that?

As engrossing and logic-resistant as the state of dreaming it seeks to replicate, Christopher Nolan's audacious new creation demands further study to fully absorb the multiple, simultaneous stories Nolan finagles into one narrative experience.

Inception, though, is no "Avatar"--instead, it’s the movie that many wanted "Avatar" to be. In a roaringly fast first hour, we’re introduced to a new technology that allows for the bodily invasion of another person’s dreamworld.

Inception is an elegant, portentous ride, though I’m not sure Nolan is any closer to visualizing the real (dream) deal than Hitchcock was.

Inception manages to be clunky and confusing on four separate levels of reality.

It's obvious that Nolan either can't articulate or doesn't believe in a distinction between living feelings and dreams--and his barren Inception doesn't capture much of either.