Dreams have a shifting architecture, as we all know where we seem to be has a way of shifting. Why does Cobb need an architect to create spaces in dreams? He explains to her. These days Michael Caine need only appear on a screen and we assume he's wiser than any of the other characters. Cobb also goes to touch base with his father-in-law Miles ( Michael Caine), who knows what he does and how he does it. And there is a new recruit, Ariadne ( Ellen Page), a brilliant young architect who is a prodigy at creating spaces. We meet the people he will need to work with: Arthur ( Joseph Gordon-Levitt), his longtime associate Eames ( Tom Hardy), a master at deception Yusuf ( Dileep Rao), a master chemist.
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The rich man, named Saito ( Ken Watanabe), makes him an offer he can't refuse, an offer that would end Cobb's forced exile from home and family.Ĭobb assembles a team, and here the movie relies on the well-established procedures of all heist movies. This has never been done before our minds are as alert to foreign ideas as our immune system is to pathogens. Now he is hired by a powerful billionaire to do the opposite: To introduce an idea into a rival's mind, and do it so well he believes it is his own. He infiltrates the minds of other men to steal their ideas. And what if you're inside another man's dream? How does your dream time synch with his? What do you really know?Ĭobb ( Leonardo DiCaprio) is a corporate raider of the highest order. Yes, but you don't know that when you're dreaming. The hero explains that you can never remember the beginning of a dream, and that dreams that seem to cover hours may only last a short time. We can never even be quite sure what the relationship between dream time and real time is. Like the hero of that film, the viewer of "Inception" is adrift in time and experience. It was the story of a man with short-term memory loss, and the story was told backwards. It's a breathtaking juggling act, and Nolan may have considered his " Memento" (2000) a warm-up he apparently started this screenplay while filming that one. The movie is all about process, about fighting our way through enveloping sheets of reality and dream, reality within dreams, dreams without reality. And telling you how it got there would produce bafflement. Here is a movie immune to spoilers: If you knew how it ended, that would tell you nothing unless you knew how it got there. Brown) is there as a reminder of the inevitability of history, of what August Wilson called the City of Bones, here manifest, if you get my meaning, like kudzu on the bows of creeping magnolia desire.The story can either be told in a few sentences, or not told at all. The two young men not only have to navigate their own stuff, but the sins of their difficult fathers, played, richly, by Wardell Julius Clark, even as an Apparition (Sheldon D. It’s superbly cast: Guest plays a character named Ezekiel Mitchell, embroiled with a Danny Mitchell (Ben Sulzberger), a Mitchell from the white side of the Mitchell family, the shared name merely a tease. And even though the action takes place over 400 years, it snaps from past to present with remarkable ease.
The stylish show is choreographed, as the title would demand, but without pretension. But director Mikael Burke’s production most certainly envelops, which is no small feat in a rectangular ground-floor studio on Milwaukee Avenue, without a large production budget. The description “immersive theater” is a cliché and a claim often unfulfilled. I’d argue it is born more of hope than misunderstanding, but judge as you wish. I’ve had that internal response several times this year. Love whom you wish, I find myself wanting to shout from my seat. Harris’ Broadway drama “Slave Play” and his drama “Daddy” are interested in many of these ideas, tooĪs a person of a certain age, reluctant to give up entirely on American exceptionalism and trapped inexorably in my own identity, as we all are, I have to confess that provokes in me a certain melancholy. This is very much a movement in the American theater, at present: Jeremy O. Both pieces explore the sexual desires of a gay Black men and as such, they expand intersectionality into the sexual subconscious, arguing in essence that white supremacy has infiltrated even there. But thematically, it is similar and just as poetically resonant and ambitious. “Magnolia Ballet,” which was first seen in a different production at Plowshares Theatre and the Williamston Theatre in Michigan and is getting its debut Chicago production from About Face Theatre at the Den Theatre, is not a musical. Jackson musical “A Strange Loop,” a very personal, clearly autobiographical piece that probes the psyche of a single Black man in New York City. Next week at the Tony Awards, attention likely will land on the Michael R.
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