{"id":973,"date":"2010-08-03T07:45:43","date_gmt":"2010-08-03T11:45:43","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2010\/08\/inception_salt_wounds_rub_plots\/"},"modified":"2010-08-03T07:45:43","modified_gmt":"2010-08-03T11:45:43","slug":"inception_salt_wounds_rub_plots","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2010\/08\/inception_salt_wounds_rub_plots\/","title":{"rendered":"INCEPTION, SALT: WOUNDS RUB PLOTS"},"content":{"rendered":"
\"Hans<\/a><\/p>\n

Hans Zimmer<\/a> via last.fm<\/a><\/p>\n<\/div>\n

INCEPTION<\/b> delivers on its premise’s wild leap of faith. Yet like so many blockbusters, visuals trump narrative: after abandoning your toddlers for fifty year-weekend with your wife, would you (Leonard Dicaprio) leave them out on the back porch without hugging them to say goodbye, even if a four-eyed lawyer was poking papers in your chest? If your forsaken son was a wild-eyed dream architect, lost in his illusions, would you (Michael Caine<\/a>) implant your best student (Ellen Page<\/a>) in his psyche? While enjoyable as the CITIZEN KANE<\/b> of video games, if it weren’t for Hans Zimmer<\/a>‘s score, such multi-tiered redemption twaddle wouldn’t be anywhere near as involving. Sequel idea: it was all just a metaphorical season of DALLAS<\/b>.<\/p>\n

SALT<\/b> has that other big movie problem: plot twists wag wayward, conspiratorial premise (punch line: real Russian moles rounded up during wide release). Clandestine Soviet super-spies (and deep undercover double-agent) converge on Presidential bunker to launch missiles on Middle East to incite Muslim revenge — call it “motive enhancement.” Best defense: any film that wastes Andre Braugher<\/a> needs a lot of hokum to stay float. Costume dept. design flaw: brunette Jolie wig out-distracts blonde, and Liev Schreiber’s grows grim in men’s suits. (Why not play CIA in drag?)<\/p>\n

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