Handling dreams like Russian nested dolls is perhaps not, in itself, the most innovative concept given movies like “The Matrix,” “Nightmare on Elm Street” and “Eternal Sunshine of the Spotless Mind.” But rarely has the concept been so intelligently and breathlessly executed as in Chris Nolan’s long-gestating project called, with just as much mystery as the film’s marketing build-up, “Inception.” What has been a dormant (pardon the pun) idea used infrequently has, in Nolan’s hands, been revived as a high-concept effort that exposes the Wachowskis’ first (and only worthwhile) Matrix film as entertaining but self-important pulp fiction, and dream-horror movies as cheap manipulation.
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