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But Nolan’s skill at basic action choreography hasn’t improved since Batman’s fisticuffs, and his attempts at puncturing an otherwise poker-faced exercise with the odd goofy gag feel forced.Marion Cotillard is scary and beautiful as the bitter shade in Leo’s mental basement, threatening to contort every mission into a Solaris-style marital guilt trip.I have heard it said that fans will return to Inception for further viewings in a bid to extract more meanings from its layers.Good luck to them - I’m not sure they’ll find much.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.He and his crew hook themselves up with wires to the drugged targets and infiltrate their subconscious, as they’re caught doing in the opening bit with a Japanese businessman, Saito (Ken Watanabe).

There are simultaneous dreams about skiing across frozen wastes, running around hotel rooms and plummeting in trucks, and when Cobb’s junior sidekick Ariadne (Ellen Page) looks up in desperation and yells, 'Whose subconscious are we in exactly? Although buildings reliably bend and explode, there are very few moments of real magic or feeling.No sooner does he dip into a stranger’s lively subconscious, however, than he tends to come up against the elegant but furious figure of the late Mrs Cobb, Mal (Marion Cotillard), a perpetual 'projection’ of his own.Mystery shrouds the nature of their relationship, and its untimely end is at the heart of the film.This is a near-impossible art because – as we are portentously told – 'the subject’s mind always knows the genesis of an idea’.I can think of several cases in which the subject clean forgot the genesis of an idea, but then this kind of bogus jabberwocky is a hallmark of the script.

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