“Inception”, Christopher Nolan’s bold new remake of 1999’s “The Matrix”, hit theaters this weekend to the tune of $60.4 million, establishing itself as one of the most celebrated blockbusters of the summer.
Like the Smith family’s 2010 remake of 1984’s “The Karate Kid”, “Inception” positions itself as not just a sequel to the popular saga, but rather an honest remake of the 1999 classic. Where sequels fail, “Inception” succeeds.
Not a movie aimed at disappointing average Matrix fans, “Inception” delivers the fundamental elements of the original creation that even the most ambitious moviegoer would expect in any remake. While minor details have been embellished, “Inception” — like 2010’s “The Karate Kid” — remains unabashedly true to the things that made the original film worth remaking in the first place. Where 2010’s “The Karate Kid” revisited the San Fernando Valley under the guise of exotic Beijing, “Inception” revisits the woman in the red dress under the guise of a hot blonde. Where 2010’s “The Karate Kid” trades Golf ‘n Stuff for a Chinese street festival as the backdrop for that heartwarming cross-cultural kiss, “Inception” swaps out the subway station for a hotel corridor as the location for the classic zero-gravity struggle between friend and foe. And where 2010’s “The Karate Kid” opts for a “take off the jacket, hang the jacket” drill instead of the beloved “wax on, wax off” exercise, “Inception” replaces the famous Cream of Wheat-like slop for a slightly lumpier oatmeal-like slop.
Certain less-than-subtle homages remain not so concealed. Helicopters are still helicopters, and chairs are still chairs. The dripping blood coming from the mouth of the unconscious ally is nearly identical to its 1999 counterpart. The clever use of hearing devices that allow the characters to remain connected to other levels of consciousness appear only barely changed. Hell, we even have the Architect again. And Act One’s decision-launching phrase remains verbatim in not so many words: “They’re coming for you.”
While “Inception” lacks the original’s existentially emotional and philosophical core, it redeems itself with flying colors by way of ucompromisingly pure distracting visual spectacle. Folding Paris street scenes, plowing locomotives, and playful mirror shots provide more than everything the average moviegoer needs to forget what they’re missing.
“Inception” is an outstanding movie on every level — a manifestation of storytelling excellence — and I recommend it highly. Unlike what some of the harsher critics may want you to believe, it is not predictably unoriginal rehash. It is not like watching a simple-mindedly sappy cover band. And above all else, it is not a metaphor for itself and other similar examples of delusional Hollywood hype.
Then again, maybe I’m just making you think that.
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