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In Chris Nolan‘s films, we get the nagging feeling that there is some kind of deep meaning, but the director does all he can to obscure it. With his least annoying title so far, Inception, he comes into terms with the fact that he can’t overstep himself and plays to his strengths inside his limits. No more illusions of touching Kubrick, Orson Welles or Fritz Lang.
November 1, 2010 Leave your thoughts
» Glorious new works by proven masters I love dearly:
Carlos, Olivier Assayas
