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Inception
Year:
2010
Country:
USA, UK
Genre:
Crime, Thriller, Action, Adventure, Mystery, Sci-Fi
IMDB rating:
8.7
Director:
Christopher Nolan
Ellen Page as Ariadne
Tom Hardy as Eames
Ken Watanabe as Saito
Dileep Rao as Yusuf
Cillian Murphy as Robert Fischer
Tom Berenger as Peter Browning
Pete Postlethwaite as Maurice Fischer
Michael Caine as Miles
Lukas Haas as Nash
Tai-Li Lee as Tadashi
Claire Geare as Phillipa (3 years)
Storyline: Dom Cobb is a skilled thief, the absolute best in the dangerous art of extraction, stealing valuable secrets from deep within the subconscious during the dream state, when the mind is at its most vulnerable. Cobb's rare ability has made him a coveted player in this treacherous new world of corporate espionage, but it has also made him an international fugitive and cost him everything he has ever loved. Now Cobb is being offered a chance at redemption. One last job could give him his life back but only if he can accomplish the impossible-inception. Instead of the perfect heist, Cobb and his team of specialists have to pull off the reverse: their task is not to steal an idea but to plant one. If they succeed, it could be the perfect crime. But no amount of careful planning or expertise can prepare the team for the dangerous enemy that seems to predict their every move. An enemy that only Cobb could have seen coming.
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Reviews
Chaotic and pretentious
I'll begin by saying that I have an inbuilt prejudice against films that seem to put cleverness or 'intelligence' ahead of entertainment value. Having read a lot about this film, I wasn't sure whether I would like it, but in fact was very disappointed to end up disliking it as much as I did.

For me, the film lacked two essential elements of an entertaining movie - a coherent plot and sympathetic characters. The plot didn't really start to make any sense until about halfway through (far too late) and Leonardo di Caprio as the central character, Cobb, was competent but just didn't have the charisma to carry this kind of story. His wife's death was foreshadowed a lot in the early part of the film and I found I just didn't care how or why she died. None of the other characters came across as real people and their connection to Cobb was generally unclear to me. The impression was of good actors (like Tom Hardy) being basically wasted.

I almost switched off the film after the first twenty minutes because its chaotic action seemed designed almost to alienate the viewer. It started to make some sense after that, but was still a long way from what a good film should be. The over-reliance on sudden loud noises (way above the level of the dialogue) in the first half was simply irritating.

The film also seemed to have trouble obeying its own internal logic. Several reviewers have mentioned that there was no consistency in what is supposed to happen when a dreamer dies during a dream; I was unimpressed by the 'projections' in the dreams apparently having their own personalities and being capable of independent thought, although the script also had them as nothing more than figments of the dreamer's imagination.

Yes, the film's settings and special effects were impressive, but that's really not what an evening out (or in) should be about. If the story and characterisations are lacking, then why bother watching at all?
2011-03-18
Insulting
I will try not to repeat some of what others have so brilliantly written in some reviews. I just add this in order to contradict the hype that has allowed this movie to be ranked so high in IMDb. The same has been happening with other movies, and that is a shame for IMDb, which is becoming unreliable.

I want to stress the fact that the only complexity in this movie is trying to figure out how you can invest so much money in a script that continuously makes a fool of the average critic intelligent viewer! The story is not complex. It is deliberately confusing in order to conceal its stupidity. Nothing that really matters is explained in the movie.

And there's so many embarrassing clichés (the recruiting of the team, the episode in Mombassa, the assault of the ice fortress, many of the action sequences)... the average viewer must be disappointed!

And the dreams - which serve as the scenario to most of the movie - are populated by the utmost lack of imagination.

Finally, there's the score, louder and louder, building a suspense that is never there, for everything is a dream, and we do not quite catch what there is exactly that can go wrong...

Well, all in all, the movie is an insult to the average intelligent viewer and, having been directed by Christopher Nolan, an ultimate disappointment.
2010-08-24
Overrated
This movie is so predictable that it takes all of 10 minutes to figure it out. At that stage you know you're going to waste another 2 and a half hours watching the nonsense where people slip in and out of dreams in an attempt to fabricate a story where there was no story.

The plot starts in the first few minutes and ends in the last few minutes, everything in between... well... is better left unwatched.

If you haven't figured it out immediately, then chances are you won't by the time it's over, in which case you're also wasting 2 and a half hours of your time.

The only thing I got from watching this horrible overrated bloated cinematic experiment was a wish to kill myself. Maybe I'm dreaming, too?
2010-11-12
In a Decade, "Inception" May Be A Religion
Films about dreams and the subconscious are usually not very straightforward and almost always weird. "Inception" is no exception to that rule, but like its cinematic predecessors who have explored the contrast between and the questions of what is real and what is illusion (i.e. "The Matrix" (1999), "The Cell" (2000), "Abre Los Ojos" (1997) & its American remake "Vanilla Sky" (2001)), you really can't look away, nor should you.

"Inception" is an excellent and breathtaking movie that may be one of the only films released so far during the Summer of 2010 that lives up to its hype. It is a nearly perfect and highly original film that holds your attention until the credits roll. The less you know about this movie going in, the more you will be entranced by seeing it.

Leonardo DiCaprio plays Dom Cobb, a world class criminal who, with the help of a team of sleep experts, works his way into people's subconscious and steals what people value most: ideas directly from their minds. In his last assignment to possibly clear his name, he is assigned not to steal an idea from someone, but to plant one inside that person's mind. The difficulty comes when certain people are trained to block their ideas from being taken.

That plot summary only covers the basics of this pretty complicated story, but to describe every plot detail would take away the magic of this film you must see yourself to believe. DiCaprio is good in his role, but unlike many other films he has starred in, this is perhaps his only role where his character alone does not carry the weight of the movie on his shoulders or share it equally with one other co-star. Instead, this great ensemble cast teams together to make this movie work, just as their characters collaborate to pull off such a unique heist. Joseph Gordon-Levitt, Ellen Page, and Tom Hardy are especially good in their roles.

The special effects in this film were also very good, which is amazing considering their simplicity compared to the "Matrix" movies. There are slow-motion shots, but no impossible kung fu fighting sequences. It's especially interesting when the film gets into the architecture of certain dreams, and impossible sequences are filmed in a way I've never seen other than in drawings.

However, the special effects would mean nothing if the story wasn't good. For this reason, even something as simple as a spinning top holds your attention in a way you would never think it would when seeing it in this film. The credit here can be given to writer and director Christopher Nolan, who has not made a bad film yet. There are many twists and turns in this film, but Nolan never loses his focus in the process of telling the story. If Nolan does not get nominated for Best Director and/or Best Original Screenplay next Oscar season, there is something terribly wrong with the Academy.

That being said, there was still a lot about this film I still don't get, and may require multiple viewings to better understand. However, some of the best films I've seen are confusing at first. "2001: A Space Odyssey" (1968) is a film I've seen a couple of times, and still don't understand completely. It still has a major following, though, as I'm positive this movie will. It's an incredibly entertaining movie, but it also makes you think and continues to do so after you leave the theater.
2010-07-13
Very Disappointed
Inception is an interesting movie, however I did not enjoy it. I go the movies to be entertained, to be transported into the movie, to be involved and have my emotions stirred. Inception did none of that, it failed because it focused on the creativity but forgot about the audience. Credit must be given to the special effects, the acting and the creative content, but the praise stops there.

I have read a lot of the reviews here and I have to say I'm very surprised, I simply don't agree with the high rating this movie has been awarded with. If you would like to watch an interesting, creative and action packed movie, this will not disappoint. For me, there were too many implausible (bordering on ridiculous) twists to enable me to enjoy it.

The technical aspects surrounding the connectivity between the participants was just nonsense, there was little explanation, little offered on how it worked and why. Clearly someone thought the audience would just let that part slide and not be too fussed about the technicalities.

This is a selfish movie, its been written, produced and directed to be creative, amazing and intelligent.. the problem is someone forgot about the audience. I for one was not engaged, transported nor were my emotions stirred..apart from feeling annoyed and disappointed.

I expected so much more from this movie..
2011-03-19
All right.....
The film is a disappointment, because it did so little with so much. Basically what you have here is a very interesting sci-fi heist premise; Cobb (Leonardo DiCaprio) and Arthur (Joseph Gordon-Levitt) are partners who use dream-invasion technology to steal industrial secrets from unsuspecting mass transit passengers (why any powerful people in such a technological age would travel on mass transit, is just one of the many obvious questions the film expects us not to raise) while they doze. In exchange for immunity to a troubling criminal charge against Cobb, they agree to undertake an unprecedented mission: to practice "inception" on a powerful business scion, that is to plant an original idea in his subconscious through the dream manipulation.

All of this is great, but unfortunately none of it has any emotional weight. To find that we have to look into the mystery of why Cobb has been in exile, and this plot has to do with his wife (Marion Cotillard) with whom he shared a disastrous and traumatic experience of dream sharing. This is to me where the movie essentially falls apart. It seems like Nolan and the other writers never fully synthesized these two dominant strains in the film, so that most of the time the emotional drama is just getting in the way of the heist film or vice a versa. At no point did it seem to me that the heist was complimenting the drama or vice a versa. And in fact after some very impressive effects sequences during the scenes where Cobb shows his new assistant Ariadne (Ellen Page, too green to hold up her role) a lot of the action becomes outright tedious, never more so than when we're "treated" to about a reel or ten minutes of numbing snow-mobile and gunfight action, right at the point where the film should be reaching a climax. It all starts to feel very obligatory, and Nolan is not a good enough action director to make empty content feel like fun.

As a basic action/heist movie with sci-fi premise, it still works well enough that I would recommend it as a rental. Nolan works in some of the elements that have made some of his better films work on a higher level, such as the association with totems and icons (the spinning wheel, etc.) and the connection between memory or memory devices and identity. However when all the pieces are laid out, the film seems overly simple and mechanical. The plot is just this -- the guy takes a job, he does the job, he gets to re-unite with his kids. Although he constantly mopes about in a depression because he tried inception on his wife and she died, he has no ethical or moral problem with doing the same thing to Cillian Murphy's character, even though nobody knows the real consequences that could befall or the true motives of Ken Watanabe's character. I was hoping that some larger picture would emerge, but instead this film is politically naive and instead attempts to be dramatic. The constant shots of adorable children playing on the lawn made me feel I was watching a bad Spielberg film. The entire emotional anchor of the film is put on the shoulders of these cute kiddies in true Spielberg fashion. If you don't buy into this ridiculous soft-target hook, then the whole film collapses like DiCaprio's dream world.

This isn't a bad or stupid film, but after a while you start to yearn for at least some human warmth or humor, which is almost always missing from Nolan's films. The characters are so sincere that it starts to become suffocating, especially considering how ridiculous the premise is when taken seriously. Basically this is like "Total Recall" in terms of ideas and in terms of stupid action scenes, except that it takes itself hugely seriously. It does not become a better film by doing so, nor a more intelligent one.
2010-08-23
Vacuous
No, not intellectually: there's tons of thought (or at least editing) going on in this film. But there's no characterization, there's no heart (Leo's one anguished cry of "Jesus, noooo!" isn't "heart," it's badly directed overacting), and, worst of all, there's no morality.

I'm an ill-tempered, outspoken, foul-mouthed termagant (that by way of explanation for those about to call me a right-winger, a teabagger, or a prude), but when I watched this thing I was dumbstruck not on an intellectual level (oh, golly gee, we're dream-diving! Like in "The Matrix," only inside brains instead of a mainframe! Wow. Uh, sure.) but on a moral one. See, the film has NO PROTAGONIST. It has criminals, it has those who facilitate those criminals' activities, and it has a victim. That's all.

And, yes, I had-- and have-- a real (or is that "real"-- see, I'm of the camp that thinks the whole sorry mess took place in Cobb's bigger mess of a head) problem with that.

Almost no one (I would have opted for a plain, sweeping "No one," no "almost," but I recall one review among dozens and dozens that hit on what I'm about to say) seems to see anything wrong with the idea that Cobb and his crew are (ostensibly-- pretermitting for the time being the perpetual argument regarding whether the whole sorry scenario is or isn't a dream) performing an act of mental violation on an innocent man. Why is this? The action isn't that impressive (even the infamous hotel-corridor sequence)-- yes, Nolan does "loud" and "in your face" very well, but the Bond films have been doing more breathtaking and cleanly shot action work for four decades now. (I actually laughed out loud when Cobb and Arthur, decked out in pimp-fashion leather coats and stocking masks, shouted threats at kidnapped Robert Fischer in a dream-warehouse-- not, of course, to be confused with a warehouse of dreams (that might invoke imagination): what, you couldn't just have your goons strong-arm a kidnappee in the "real" world, Nolan? This is as creative as you can get?) We can't just proffer "Cobb must see his kids again at any cost!" as an excuse-- or can we? (I would certainly hope not.) Is it because Fischer is a Caucasian businessman, and therefore intrinsically deserving of attack in this economically volatile era? (The argument that Fischer's business rival Saito is somehow bravely trying to prevent Fischer from forming a monopoly is weak at best: that's what anti-monopoly laws are for, and, by agreeing to attack Fischer on Saito's behalf, Cobb is merely enabling Saito to form a monopoly of his own. And, seriously, inception and/or extraction would be ridiculously iffy forms of espionage. Break into the safe inside my skull, Cobb my boy, and enjoy the five hundred verses of "I'm 'Enry the Eighth, I Am" I've got planted there.) Or is it, possibly worst of all, because Cobb and his goons "kindly" leave Fischer with happy thoughts of his coldhearted father? (From monopolies to psychiatry, then: if Robert Fischer has daddy issues, that's what analysts are for. Cobb and his stampeding creeps are in Fischer's mind to commit a crime; any "resolution" they provide him is a byproduct of that crime, and resoundingly, cruelly false.)

We might argue that Cobb and his crew are anti-heroes, but they're not. "The Dirty Dozen" are anti-heroes, criminals and psychopaths nonetheless working for the forces of good by fighting an evil greater than themselves (that evil being the nasty Nazis); Dom Cobb is nothing more than a thief (and, despite the ad copy, not a very good one) perpetrating an insidious act of mental rape against an innocent man (and, by extension, all those who rely on that innocent man's business for their livelihoods). Why all the sympathy for this thug and his crew? What's the catch? When children are involved, or when guilt (real or imagined) is in the mix, are we just supposed to chuck morality out the window...? (The last sad thing, I guess: No one on the team, not even newbie Ariadne-- and, granted, she's likely either a figment of Cobb's imagination, like the story as a whole, or a plant-- questions the "right" of what they're doing. Not only does this make me deeply uncomfortable, it's incredibly shallow writing. An opportunity for character development, tossed. But that's classic Nolan, isn't it? If he can't cover it with an iconic grunt-- "She was lovely," Arthur deadpans to Ariadne, when Ariadne asks what nasty dream-shade Mal was like when she was alive (heck, Arthur, she's still, technically, "lovely"; we were looking for maybe just a touch of explanation here regarding her relationship with Cobb and the team, big boy)-- it doesn't get covered.) Or, in the end, are we just supposed to excuse the immorality of the situation by saying, "Ha! It's all a dream anyway!"? Very much bothered by this, especially since this behemoth has gulped down some one billion dollars in box-office take worldwide....

... and that's why I'm giving it two stars. Cillian Murphy looks very nice in his natty suits, and he cries very prettily before Nolan realizes that-- horrors!-- someone is emoting on screen, and jerk-cuts away. Marion Cotillard does her best to squeeze dimensionality from yet another one-d Nolan-woman part; as Mal, she's a sad, psychotic, lovely mess. One star for each of them. As for the rest of it: what a pathetic reflection on values, and what a lousy story. Excellent snow-job, Mr. Nolan, but no star for you.
2010-11-25
Over-hyped
A competent movie that somehow has gotten a ridiculous amount of praise. I felt just about everything in this movie was average, but I am sick of being berated for refusing to say this movie is anything less than perfect. A decent premise, well acted, but long and slow. Unfortunately this movie is riddled with mistakes and the subplot with the wife could have been so much more interesting than her barely getting a look in. Some good moments, but not enough to make it as long as it was for me.

Also, was it just me, or were the kids the same age at the end of film? If so then doesn't this mean that the is he in a dream or not ending (which I saw coming as soon as they introduced the spinning top by the way) is pointless as if the kids haven't aged, it must be a dream.

Don't believe the hype!
2010-08-15
Overlong and Overrated
I don't get all the positive reviews for this movie. I found it overlong and I could not find a reason to care about any of the characters. Technically speaking, there was no true heroic character, as it was a bunch of technologically-advanced criminals and their victims. At several points during the movie I was pleading "Go home! Go home!" It had a decent idea but I have to think that Rod Serling (RIP) probably could have done a much better job with this and he would have done it in a shorter time. I really think the writers and producers could have made a tighter film with better and more interesting characters. Christopher Nolan did terrific, terrific work with Batman Begins and The Dark Knight, but this film is unworthy of its success.
2010-07-24
i would rather have been dreaming
I really do not have anything new to add here. The negative reviews already posted say it all. If you thought this movie was good, you probably did not get it at all. If you know it sucked, then you understood it perfectly well. This was the biggest waste of time since Leonard part 6. Just because you are in a dream in a dream in a dream in a dream, that alone does not in any way make a movie complicated or good. Well crap, it says the review has to be ten lines or more, so here it goes. I have used this website for a long time and this is the first review i have ever done. The reason i felt so compelled in doing so is seeing how highly rated this stupid movie is. If you loved this movie for its "complex storyline," go ahead, turn on spike TV and wait for wwe wrestle mania to come on and write me a gushing 10 star review about the complex storyline and the butt kicking inside a butt kicking inside a butt kicking inside a butt kicking.
2010-10-07
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