Seperis (seperis) wrote,

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Okay, pleeeasse do not read this if you liked it a lot, because I hate fucking with squee as squee is fun and awesome and you should do that!

I have something that is kind of more powerful than a squick; it's a virulent hatred of something that wants to fuck with my mind and not give me payoff. This is like the anti-payoff.

To clarify, I hated the end of Roseanne so much I can't watch the reruns. I won't even try to get through Enterprise because of the ending. I get ragey knowing St. Elsewhere did it first and even though I never watched the show, really want to have a word with the writers. I do not like getting attached to things, or people, and realize it was all a lie.

This is less betraying that Roseanne, since my investment was lower, but it's so ridiculously predictable I want to just scream. There's some kind of rule that states, in a movie about the uncertainty of reality, the ending will never, ever, ever, even by accident, not be a surprise twist that gotcha, reality isn't real MAYBE. For some reason--and I don't know why--I thought this one wouldn't just do that all over again, which is what I get for not spoiling myself thoroughly when I read the premise, so honestly, this is totally my own fault.

Notes that make this even more irritating:

a.) IT WAS ALL A DREAM so he's stuck in infinity in a dream world without the dead wife that caused the entire psychotic break. So why not dream up a world with her in it exactly? The neat emotional growth--that a replica wasn't good enough--works right up until hes' okay with replica children and then there's the realization there was no emotional growth, because he's still willing to settle with replicas, so there goes the emotional arc completely, thanks, that's kind of the only thing we had and that being the entire point of the movie and he had no emotional growth. Great. And the telling the difference between reality and fantasy and living in old memories isn't there, because hey, why bother, it apparently doesn't work.

b.) I loved it up until he took out his top and I just wanted to cry, because for reasons that pass my understanding, Nolan really had to drive it in THIS IS JUST A DREAM (MAYBE) (the audience obviously having watched the movie couldn't have picked that up themselves) so there's a forever spinning top just in case it hadn't occurred to us and I'm not actually stupid, this had occurred to me pretty early on.

c.) I feel cheated that it wasn't ambiguous unless there's a posit the top fell after, which considering how it started and then spun into rotation--and considering that at teh beginning, it was pretty thoroughly banged in HE WANTED TO SEE THEIR WEE FACES, even though wouldn't they be older now?--it's not actually all that ambiguous without ignoring the spinning top.

So it's a dream world in which no one else exists, so of course the awesome heist that happened didn't actually happen, so the complexity of it can't really be admired since we didn't get to see it, and the heist was goddamn awesome up until it deux ex machina'ed out, since hey, this is a dream, it would work or not based on what dream life Cobbs wanted to live, not based on any character's actual actions. It didn't matter if the timing was right because Cobb's personal growth was dictating it. And in the end, even though getting rid of Mal was this huge character moment that made the emotional arc--I can't imagine anyone as awesome as you!--it's completely contradicted since there was in fact no lesson learned except; you can get lost in dreams and its' dangerous. Sometimes. But sometimes you settle down with your hallucinations and so that's okay, so the entire movie is about giving up.

I can't get over the heist not being actually as brilliant as it was, and logical and meticulous and traceable and fantastic since the it was dependent on how Cobb wanted it to go.

...there are multiple levels this annoys me at. And all the characters being projections is just goddamn icing; I can't even like them since they're just projections of Cobb's imagination and bits of him. Okay, yes, Saito's suspiciously sudden aging even though he went in well after Cobb and Ariadne was suspicious, and the fact the ante kept having to be upped unexpectedly because the architect can remake the rules of engagement because sudden!Limbo! and sudden!Not!Death being new and improved features means that the earlier scene of teh top falling is now not inconsistent and yes, Cobb's dad waiting at the airport for no particular reason--wasn't he in Paris?--and the fact the kids were unable to leave the United States for no particular reason--and why don't they age again?--and the fact that how does that work with limbo anyway, you share limbo? and argh.

I really want to like it--that heist! Oh my God amazing!--but come on. The heist is no longer relevant and that just sucks. At least this explains how they didn't get out of dream layer one. I was wondering hopefully for a second, until I remembered it didn't matter.

Note: you will never like Nolan, stay away from his movies from now on. He is a Twist person. Twist people do not like subtlety and they do not like it if you aren't fully aware there is a Twist.

*sighs* This has so killed my mood. I wish I had normal dislikes like, IDK, romantic comedies involving twins.

[Note; the only viable option i can get to keep the fallign of the first top is that he dreamed himself into another replica of reality, which at least keeps all the other characters and the heist as real but still fails because we never find out if the heist worked or Saito was saved. Which isn't exactly better.]

Please don't hate me?

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