Ever wondered what it would be like if a traditional Hollywood blockbuster were to be combined with avant-garde or art-house movies? This movie should hopefully satisfy your search. Christopher Nolan’s complex science-fiction heist thriller debuted in late July of 2010, earning excellent reviews and over $825 million worldwide. This was probably due to the serious lack of entertaining movies that summer. The script, initially a treatment for a horror film, floated and developed around the film industry as early as 2002, with many tweaks and adjustments added over the years. The plot centers on Dom Cobb, played by Leonardo DiCaprio, a thief who specializes in corporate espionage of the mind. He and his associates use advanced technology to enter the subconscious of their targets to extract an idea and give it to whoever hired them. But now, in order to clear his criminal record and return home to his family, Cobb must perform “inception”; going deep into the subconscious to plant an idea in someone’s brain. That already sounds like a mouthful, but trust me. The story is much thicker and more nuanced than that. And while I’m honestly tempted to spend this whole post explaining every nook and cranny of this film’s lore, I’ll just skip right ahead and tell something you should have already guessed. Inception is a brilliant, downright amazing movie that every film fan should see. In fact, this may be an unpopular opinion, but I believe that this film is Christopher Nolan’s magnum opus. You could argue for days on Memento or The Dark Knight, and both are fantastic in their own right. But those films were based on pre-existing material, Memento being a short story written by his brother Jonathan and The Dark Knight an adaptation of the DC Comics character. This, however, is a wholly original film with no ties to any other franchise materials and only takes mere influences from previous classics of the genre. That is SO rare in Hollywood; if you can make a big-budget feature as original as Inception, consider yourself having taken the right path. Leonardo DiCaprio leads an all-star cast with some fine charisma and physicality. But he brings even more to the dramatic scenes, where his past life is slowly revealed. Like Nolan’s previous protagonists, this is an emotionally tormented man who struggles to move on from his past, which is almost suffocating him. The ensemble cast includes A-List talent such as Joseph Gordon-Levitt and Ellen Page as the vocal reminders for Cobb to retain his humanity, Michael Caine as yet another elderly mentor, Ken Watanabe as the benefactor of this entire heist, Cillian Murphy and Peter Postlewaite as the targets of the mental infiltration, and Marion Cotillard as Cobb’s mysterious deceased wife obsessed with haunting him on the job. But let’s be real; the real show-stealer, here, is Tom Hardy as Eames. The British man is a straight-up action hero in this film and his lines of dialogue provided some great moments of humor. That being said, much of the dialogue early on is reserved almost exclusively for exposition. For the first half, practically everything to know about this universe is told to us through character interactions. It doesn’t quite feel forced, but it does require the audience to pay close attention to everything that is spoken. It can almost be exhausting. But in the latter half, as we now understand almost everything about the movie, it truly reveals itself as a slick mix of both heist crime thriller and science-fiction spectacle. The incredible production design and editing by Lee Smith create dreams that are both very elaborate and yet still grounded and believable. One of the most thrilling sequences in the whole movie comes when Joseph Gordon-Levitt is fighting antagonistic projections in a hallway that keeps on turning and changing gravity. There’s no CGI or greenscreen whatsoever in this segment, hell not even wires. Instead, it was on an actual rotating set that took nearly two weeks to film. And several more of the action scenes are extremely well thought out and mix gritty realism with creativity. You want to get a large gun in the middle of a shootout? All it takes is your imagination. Hans Zimmer composes the music for Inception as part of the third collaboration between him and the director. Robbed of an Academy Award, the score is a unique mixture of orchestral and electronic sounds. Many of the tracks feature a steady guitar, reminiscent of the films of Ennio Morricone. The final track “Time,” in particular, is one of the most beautiful and haunting pieces of film score ever written, perfectly capturing a balance between heartbreak and nostalgia. And then there’s that ending. Holy crap, THAT ENDING. One of the most ambiguous final scenes in recent cinema, up there with films like 2001: A Space Odyssey and Blade Runner. I refuse to discuss it and spoil it on the off-chance that you haven’t seen this movie. But keeping it vague, it uses a certain device in the plot that we are familiar with by that point and leaves off on a big tease if ever I’ve seen one. Even though it’s been nearly 7 years since the movie was released, this ending is still intensely debated among film buffs to this day, with some creating their own alternative fan theories explaining everything. I don’t mean to disarm you with this, though. Inception is a stimulating labyrinth of ideas and action that is startlingly original and captivating. Touching on some existential and philosophical themes, this is a modern classic, one of my all-time favorites, and the best movie this decade has offered so far. You have to see it to believe it.