Anarchy ensues on the streets of Gotham City, at least that’s what we get out of the recent batch of videos coming from the set of The Dark Knight Rises, now filming in New York. Three videos showing different takes from what looks like an important scene in the movie found their way onto YouTube and thanks to IGN, we have them here for you. As always, if you want to go into The Dark Knight Rises spoiler-free, I recommend you skip this.

In the last video we see Batman going up against Bane in the middle of the street, surrounded by people beating the crap out of each other. SPOILER, if you ask me, it doesn’t seem like he’s winning that fight. Also, with so many extras on the set, this looks really expensive, not to mention they are filming on Wall Street no less. This could end up costing easily $250 million when done. But considering The Dark Knight made over $1 billion in box office receipts worldwide, Legendary Pictures and Warner Bros. spared no expenses on this one.

There’s also a video showing some photos of Batman and Bane from the set:

Directed by Christopher Nolan, The Dark Knight Rises stars Christian Bale, Anne Hathaway, Tom Hardy, Joseph Gordon-Levitt, Cillian Murphy, Gary Oldman, Morgan Freeman, Marion Cotillard, Michael Caine and Liam Neeson. Set to open July 20th 2012, The Dark Knight Rises is easily one of the most highly anticipated movies of next year and videos like this only serve to send the hype meter into overdrive.

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I’ll admit In Time is a pretty stupid movie. There are a ton of plot holes, cliches every five minutes, and multiple time-related puns in the dialogue. But I had a good time with it, and I think it’s perfectly passable entertainment. Sometimes, we go to the movies to see people go on the run, rob banks, shoot people, and look sexy doing it, and that’s exactly what this film delivers.

In a vague future (or alternate timeline scenario), the currency of the world is no longer money, but time. People stop genetically aging when they turn 25, and a one year countdown begins until they “time out.” When a stranger gives Will Salas (Timberlake) an extra hundred years to live, he takes the opportunity to get out of his live-by-the-minute ghetto and ventures to the rich district, where people live for thousands of years in their same 25-year-old bodies. He meets Sylvia (Seyfried), the daughter of the man behind it all (Kartheiser), and the two go on the run from a resilient Timekeeper (Murphy) tasked with stopping their Robin Hood-esque crusade to bring time to the masses.

So we’ve established that this isn’t a great film. But for every eye-rolling one-liner, there is something that’s just plain cool about In Time. First off, writer/director Andrew Niccol (who also wrote The Truman Show) essentially teaches a class on world-building here. Without a ton of exposition or any unnecessary narration, he sets up the rules of the world in less than ten minutes, even if he doesn’t make it feel exactly like a viable place. Aside from the obvious looming question of “how did things transition into time-related currency from the way we know them now?”, the only aspect of the design that didn’t work for me was when the production designers decided to get cute with it, adding in signs for things like “The 99 Second Store” as characters walked by.

Secondly, the movie looks absolutely fantastic. Famed cinematographer Roger Deakins chose to shoot the film completely digitally for the first time in his career, and the results are sleek and spectacular. A nifty foot chase across rooftops and the occasional car chase keep the pace moving quickly, which is a necessity for any movie with a literal ticking clock. There may be stupid moments, but they’re all moving so quickly that I found most of them easy to ignore. The action is more commendable than the smaller dramatic scenes, but I also found the cast to be really likeable: Timberlake can easily carry a film on his shoulders, Amanda Seyfried was solid (and awesomely hot) as usual, and Cillian Murphy managed to bring a bit of humanity to his bounty hunter role.

Niccol also inserts some social commentary into his screenplay. It’s another case of the haves vs. the have nots (as if we haven’t seen that on film a billion times), but at least it’s done with some flair. Exchanges like the following are commonplace in this movie:

“How can you live with yourself watching people die right next to you?”
“You don’t…you close your eyes.”

It’s not subtle filmmaking, but it’s effective storytelling that gets the point across and provides a sliver of topicality for those on the hunt for something beneath the surface. Ultimately, In Time is a standard thriller that doesn’t take any chances or play out any differently than you’d imagine. I’ll resist the urge to end this on a time-related pun, since the movie itself was content to take most of the good ones, so instead, I’ll leave you with this: do you think Justin Timberlake agreed to star in In Time because his name is JustIN TIME-berlake? Until next time…

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Another movie making an appearance at the San Diego Comic-Con is Andrew Niccol‘s upcoming sci-fi flick In Time which stars Justin Timberlake and Amanda Seyfried. Footage was shown during the 20th Century Fox panel, and IGN have uploaded it online for all to see.

Watch below:

“In Time” presents a world where time has become the ultimate currency. You stop aging at 25, but there’s a catch: you’re genetically-engineered to live only one more year, unless you can buy your way out of it. The rich “earn” decades at a time (remaining at age 25), becoming essentially immortal, while the rest beg, borrow or steal enough hours to make it through the day. When a man from the wrong side of the tracks is falsely accused of murder, he is forced to go on the run with a beautiful hostage. Living minute to minute, the duo’s love becomes a powerful tool in their war against the system.

Justin Timberlake plays Will, with Amanda Seyfried playing an heiress who he kidnaps while on the run. Cillian Murphy plays an officer from the Timekeepers organization and Olivia Wilde will play Will’s mother.

In Time hits screens October 28th, 2011.

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According to THR Inception and Sunshine actor Cillian Murphy is in final negotiations to join Amanda Seyfried and Justin Timberlake in I’m.mortal, a sci-fi drama directed by Andrew Niccol (Lord of War).

In the not-too-distant future the aging gene has been switched off. To avoid overpopulation, time has become the currency and the way people pay for luxuries and necessities. The rich can live forever, while the rest try to negotiate for their immortality. A poor young man who comes into a fortune of time, though too late to help his mother from dying, ends up on the run from a corrupt police force known as ‘time keepers’.

Justin Timberlake will play Will, the poor man, with Amanda Seyfried playing an heiress who he kidnaps while on the run. Cillian Murphy will play an officer from the Timekeepers organization who is described as “precise as the time he keeps.” Murphy is great at playing the villain, as seen in Batman Begins.

I’m.mortal will begin filming in late September and will be released by 20th Century Fox sometime next year.

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[Here's a link to Jack's review of Inception for Filmonic.]

Christopher Nolan’s latest film has been hailed as the saving grace of a rather lackluster summer movie season. Inception is blowing minds across the country with its complicated plot, excellent performances, and – most importantly – inventive storytelling told through the lens of one of the best directors currently working in Hollywood.

After The Dark Knight came out, everyone was singing the praises of Christopher Nolan – and rightly so. But there was a bandwagon mentality to the praise that turned me off a bit. (You know how a comedy like The Hangover gets constantly quoted immediately after its release and you kind of roll your eyes at how people latch onto it? This was that, but with Nolan instead of Will Ferrell or Zach Galifianakis.) Even after The Prestige – his other “in-between-Batman” film that I loved – I was slow to proclaim Nolan as the heir apparent to the Hollywood throne for fear of being another bandwagon jumper. But after seeing Inception twice, I can now confidently say that I honestly don’t give a crap what people think: Nolan is one of the most original voices in cinema and I love everything about his style. He’s traditional (read: doesn’t like 3D), prefers the use of practical effects over computer generated imagery, and, teaming with cinematographer Wally Pfister, consistently creates some of the most visually arresting shots in recent memory.

Inception is an idea at least ten years in the making; I’ve heard reports claiming Nolan has been working on it in some form since he was sixteen years old. Inception is Nolan’s Avatar, but – and this may be sacrilege to some who loved James Cameron’s epic – if the two films were in a wrestling match, Inception would body slam Avatar through a table and the Na’vi would be down for the count. Inception dominates in nearly every conceivable category for me. Cameron’s special effects were great – don’t get me wrong, I dug Avatar – but they didn’t leave me wondering “how the hell did they pull that off?” The sequence in Inception that essentially takes place in zero gravity? How the…? I won’t turn this into an entire “Inception vs. Avatar” piece, but I wanted to establish a baseline for comparison.

I’m not going to go through the plot summary, since I’m assuming if you’re reading this you’ve already seen the film and are well aware of the story and the spoilers that are coming soon in this review. But since I can’t seem to find another spot to give this brief anecdote, I’ll just do it here and we’ll move on. In the beginning of the movie, the first “kick” that we see involves Cobb falling backward into a tub of water. The film enters slow motion as Cobb hits the water, and my eyes started to feel as if I were literally under water as well; Nolan’s filmmaking was so effective that it elicited a physical reaction out of me that I can’t ever remember experiencing in another movie. I thought it was a fluke the first time – perhaps my eyes weren’t used to the lighting in the theater yet, considering the scene comes relatively early in the film’s run time – but when the same physical response occurred upon my second viewing, it was pretty clear that it wasn’t a fluke.

Also, since this seems to be the “no man’s land” part of the review where I bring up random topics, I really dug seeing Lukas Haas as the first architect in the film, forming a mini-Brick reunion with Joseph Gordon-Levitt (Haas played The Pin in Rian Johnson’s spectacular debut). And finally, I know I wasn’t the only person to notice the similarities to Inception and LOST (I know – call me obsessed). I won’t detail them all here, but check out James Poniewozik’s piece at Time if you’re interested.

But let’s start with the basics. The acting was phenomenal all around, and I consider this one of the most effectively cast movies I’ve ever seen. Every actor and actress seemed perfectly selected for their roles and slid into the skin of their characters in such a convincing manner that even though they are A-list stars, I was never taken out of the movie due to their celebrity. Watching a Tom Cruise film, sometimes it’s easier when talking about the movie afterwards to refer to his characters as simply “Tom Cruise.”* This was not the case with Inception; I connected so well to the characters that when I’m talking about the film I almost always refer to the characters by their character name. It’s a small thing, I know, but an important distinction for me.

The ensemble nature of the cast allowed multiple actors to shine: this wasn’t simply another great DiCaprio (Cobb) accomplishment, but also a Joseph Gordon-Levitt (Arthur) showcase, a coming out party for Tom Hardy (Eames), an Ellen Page (Ariadne) graduation ceremony to the big leagues, an enjoyable effort from Dileep Rao (Yusef), Marion Cotillard’s (Mal) most mainstream performance, a highlight for Cillian Murphy (Fischer), and a nice return to the spotlight for Tom Berenger (Browning). I honestly had only two complaints with the entire movie: Michael Caine wasn’t featured enough (that’s only because I like him, not because I actually think his character needed to appear more in the film), and Ken Watanabe’s English leaves a lot to be desired.

Hans Zimmer has composed some brilliant scores in his lifetime, but I think Inception rises above the rest in a way that will resonate with me for years to come. Not since The Brothers Bloom have I heard a score that coincides so perfectly with the tone and feeling of a movie, and Zimmer’s talent is on full display here. The bombastic nature of the score, with its deep horns and driving tones, hurtles the film forward and nearly begs for the action on screen to keep up. Every chase was amazingly highlighted by pulsing beats and rapid drums, but my favorite part of the score comes during the van’s plummet toward the water. Even though those shots are all in super slow motion, the music builds insane amounts of suspense and succeeds in turning something that, out of context, should look boring into one of the most enjoyable sequences in the film for me.

I love heist films. Always have. Ocean’s 11, The Italian Job, you name it. If you give me a film that features multiple team members with highly specific skills working together toward one robbery event, chances are pretty great that I’m going to like the movie. Generally speaking, I can’t stand cliches – characterizations that are little more than “the computer tech guy” or “the suave one” tend to bother me in a lot of genres. But for some reason, heist films lend themselves perfectly to those types of archetypes. Perhaps its the specificity (“Specificity, Eames.”) to their individual jobs, or perhaps its watching a series of individuals unite in for a common goal, but heist movies have always excited and entertained me. When I heard that Inception was “a heist film set within the architecture of the mind,” I had no idea what that actually meant. But now we have a look at a Chris Nolan heist movie, and holy crap – this thing delivers.

The writing in this movie is phenomenal. This is the first film since Following (his debut) in which Chris Nolan wrote the screenplay himself, and it shows that while his brother Jonathan (co-writer on The Prestige, Batman Begins, and The Dark Knight) is certainly an extremely talented writer, Chris can hold his own among the family with ease. I love the subtleties in the script, the little moments, and the big ones. Everything just works, and it’s rare to find a script these days that successfully accomplishes that goal.

Nolan recently said in an interview that he would love to direct a James Bond movie. The thing is, I think he kind of already has. Inception essentially is a cross between Bond and The Matrix, with well-dressed thieves trekking across the globe from dreamscape to cityscape with pacing just as good (if not better) than any Bond film out there. The snow fort sequence could easily be transplanted into a 007 movie, what with the combo of skiing and shooting (very The Spy Who Loved Me), avalanche dodging (The World Is Not Enough, anyone?) and multiple explosions (um, every Bond movie ever). Nolan has admitted that, purposefully or not, he’s been influenced by many different tropes of the action genre, so it’s clear that he’s paying homage to those types of films and not ripping them off. (And even if he WAS ripping them off, that sequence would still be incredibly well done.)

I could literally spend the rest of the night writing out scene by scene what happens in the movie and what I liked or didn’t like about it, but I’ll spare you and instead provide a tiny (incomplete) bullet point list of what I considered some of the highlights of the movie.

• Joseph Gordon-Levitt’s spinning hallway fight scene. Incredible. I’ve never seen anything like that before in my life.
• The entire chunk of the film starting with the train plowing through Dom’s car in the rain, moving to the van chase, encompassing the aforementioned hallway scene, the snow fort sequence, and Arthur floating through the hotel preparing everyone for the kick. Some of those sequences might, upon a bit further reflection, eventually become some of my favorite scenes in the history of movies.
• The opening Saito flashforward combined with the dream within a dream structure, just for the audacity to begin an already-complicated movie in a way that doesn’t explain everything up front.
• That Nolan named a character Ariadne.
• The scene in which Ariadne discovers she’s in a dream for the first time and the world starts to explode piece by piece.
• The last shot, for causing so much controversy and not spelling everything out for the audience.

Speaking of the last shot, let’s go ahead and cover that ground now. If you’ve read this far, I’m sure you’re wondering if I thought the totem would tip over or whether it keeps spinning, whether Dom Cobb lives happily ever after in the real world with his kids or whether he’s caught in another dream. After seeing the film for a second time, I think I’ve settled into a theory I’m comfortable with. (Note: This theory is obviously subject to change upon further viewings and intelligent conversations about the movie.) I think that the totem keeps spinning. [insert groans and rowdy mob noises here] I know, I know – but I’ll tell you why. The optimist in me would like to believe that Cobb ends up reunited with his children, and for a while I thought that was the clear cut way to read the ending of the film. There have been a few theories claiming that Cobb was dreaming for the entire duration of the movie, that every frame we see is a dream and none of it is real. I don’t subscribe to this theory for one reason: if everything is a dream, what is going on outside of the dream? There’s a whole different story going on that we never get a glimpse into. Since we never see the dreamer or the construct or any depiction of actual reality, I have a hard time buying into that theory.

So, while I don’t think Cobb was dreaming the entire time, I do think he was dreaming during the last segment of the film. I think everything from the point where Cobb wakes up on the plane, to the “this is your life” walkthrough of the airport, to Michael Caine picking him up and taking him home, to seeing his kids’ faces is all a dream. The main reasoning I use to support this theory is that the kids are in the exact same position that Cobb has been remembering them all along, and they’re also wearing the same clothes as they were in his flashbacks. How else can this be explained? I’ll also stretch this a bit and utilize the marketing campaign to further support my theory; the tagline for the film reads “The Dream is Real,” which, granted, could mean just about anything. But I choose to read that as a Matrix-esque “perception IS reality” philosophical statement that applies directly to Cobb’s situation. Cobb made his peace with Mal, finally confronted her about his guilt for inadvertently causing her death, and moved on. Now that he doesn’t have to spend all of his time in the dream world occupied with Mal, he can spend it reunited with his children and making up for lost time. After all, as the old guy in Yusef’s basement says, “the dream has become [his] reality. Who are [we] to say otherwise?”**

[UPDATE: It's come to my attention that the kids who appear in the final scene are not, in fact, the same children that appear in the flashback sequences. The kids in the final scene are a couple of years older. This, I think, gives credit to the theory that Dom is in reality at the end of the film. Also adding credence to that theory is the wobbling totem in the last shot. When the totem was shown earlier in the film and the characters were dreaming, the rotations were absolutely perfect with no hint of it ever falling down. The wobble at the end definitely implies that Dom is in reality, and that combined with the kids being different than the ones shown throughout the rest of the film allows me to settle on that viewpoint...for now. Additionally, I read today that if you keep an eye on Dom's hand throughout the film, you'll see a ring on his finger in the dream sequences and no ring during reality; the same article points out that there is no ring in the final scene, again suggesting that Dom is in reality.]

Aside from Memento, I believe this is Nolan’s most complex film in terms of plot. I also think it’s his best film to date. Like many of my favorite films, Inception works on multiple levels. Not only is it a sci-fi action thriller romance, but Inception is a film about making movies. Note the physical similarities between DiCaprio and Nolan. DiCaprio has gone on record saying that he based his character on Nolan himself. The director, ever-fascinated with pulling back the curtain on the machinations of the mind, has crafted a story that represents the creation of film. The very concept of dream sharing, integral in the plot of Inception, is basically what the audience does every time we enter a theater together. We share someone’s dream, buy into their world, and experience variations of emotion for two hours.

I think the question “what is real?” doesn’t matter as much to Nolan as it does to us; we crave simplicity and explanation, and Nolan wisely doesn’t spell everything out and allows room for interpretation. He knew exactly what kind of reaction he would get with that final cut to black, and I don’t think it’s a gimmicky move in the slightest. In fact, it’s quite the contrary – what was the last film that you’ve heard this much discussion about among your friends and family? I can’t remember the last one that generated this kind of response across the board. Nolan knows what he’s doing, and if we were to ask him about what the last shot represents, I don’t think he’d tell us. And you know what? I’m OK with that. Until next time…

*Let it be known, if I haven’t reiterated this point enough on this website, that I’m actually a Tom Cruise fan.
**Even as I type this I’m not sure I fully believe it. But it’s the only option that makes any sense right now – why else would those kids be wearing the same clothes?

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Yahoo! has released a new behind the scenes look at Inception which features director Christopher Nolan talking about shooting the film in six different countries.

Nolan, not one to go overboard with CGI, had his cast and crew battling rain, blazing sun and freezing snow. Those mountains we see in the trailers are actual mountains (i’m not sure about the avalanche though, unless they caused it themselves with explosions).

Inception will be released on July 16th and, as well as Leonardo DiCaprio, the film stars Marion Cotillard, Cillian Murphy, Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Tom Hardy and Michael Caine.

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This latest trailer for Inception has to be one of the best trailers I’ve seen in a while. If you’ve been impressed with all the previous trailers for Christopher Nolan’s mind maze of a movie then you’ll want to feast your eyes on this one. Multiple times.

We see a lot more of the story (so avoid watching if you want to stay pure) and some very cool scenes with people floating, buildings fall, and Leonardo DiCaprio having adventures in the snow. We also get our first glimpse at Michael Caine.

Watch below:

For anyone interested the music in the latest Inception trailer is Mind Heist by Zack Hemsey. Click here to listen to the full track.

The image above is from a new poster for the film. You can check it out in all of it’s mind numbing glory here!

Inception will be released on July 16th and, as well as Leonardo DiCaprio, the film stars Marion Cotillard, Cillian Murphy, Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Tom Hardy and Michael Caine.

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I’ve actually been trying to avoid finding out what Christopher Nolan’s Inception will involve as it’s been a while since I’ve gone to watch a film without knowing 70% of what happens from all the trailers, TV spots etc. Inception presented the opportunity to be genuinely surprised as it all unfolds on the big screen, and with Nolan directing I knew it wouldn’t disappoint.

Alas, Warner Bros. today released an official synopsis for the film, and while I now know the basic outline of the story (which sounds fascinating) it hasn’t spoiled anything.

Eyeball it below:

Acclaimed filmmaker Christopher Nolan directs an international cast in an original sci-fi actioner that travels around the globe and into the intimate and infinite world of dreams. Dom Cobb (Leonardo DiCaprio) 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. This summer, your mind is the scene of the crime.

Inception will be released on July 16th and, as well as Leonardo DiCaprio, the film stars Marion Cotillard, Cillian Murphy, Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Tom Hardy and Michael Caine.

Here’s the trailer:

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Just over a week ago we learned that a new trailer for Inception would be appearing in front of Avatar, and now MakingOf have debuted a French trailer for Christopher Nolan’s ‘wtf’ movie. While the English version has yet to be released, it’ll probably be similar to this one which features buildings being rolled up and a train thundering down a busy street.

Inception stars Leonardo DiCaprio, Marion Cotillard, Cillian Murphy, Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Tom Hardy and Michael Caine, and will be released next July.

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Even though we got a teaser trailer for Inception two months ago we still know next to nothing about what the film involves. One thing we do know is that Warner Bros. has given Christopher Nolan around $200 million to create something original, which is usually unheard of unless you’re James Cameron. But then again Nolan did make them $1 billion with The Dark Knight so they’ll give him what he wants as long as he returns to complete his Batman trilogy.

Actor Cillian Murphy was in Batman Begins as Scarecrow and he appeared in The Dark Knight briefly. Nolan also signed him up for Inception and he recently spoke to MTV about the film:

“This is my third film with Chris,” Murphy said. “He showed me the whole script. It’s very very complex and amazing. I’m hugely excited for next year when it comes out.”

We’re glad that you think the script is great and everything, but how about the story? Care to share any details, Mr. Murphy?

“It’s conceptual. It doesn’t fit into any genre,” he explained. “There are elements of different types of things in it but it is all from Chris’ imagination. I’ve never read anything close to it before.”

As well as Murphy the film stars Leonardo DiCaprio, Marion Cotillard, Ellen Page, Joseph Gordon-Levitt, Ken Watanabe, Tom Hardy, Michael Caine and it will be released next July. I hope we don’t learn anything too revealing as it will be cool to go into a film knowing it will be amazing, but knowing nothing about it.

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