I was actually a little underwhelmed by some of the more visual aspects of the film, which is not too say that it wasn’t stunning, but I didn’t find that to be the most compelling aspect. The zero-gravity hotel fight is admittedly one for the canon of truly mind-blowing action sequences, but beyond that, I didn’t find the visuals to go above and beyond the spectacle that high-end quality blockbusters tend to produce each summer. Wonderful, accomplished and staggering: but nothing game-changing. Honestly, I think I’d say the same about the Dark Knight.

I know this sounds a little strange, because Nolan’s films are always so visual, and by no means am I suggesting this is a weak point.

But what I’m driving at is that I found myself pulled in by the personal story of Dom Cobb and his deceased wife. That narrative of guilt and redemption permeates the spectacle and gives it meaning. For me, DiCaprio’s performance is magnificent, for the very reason that it isn’t showy. This is the story of a man who must confront the consequences of his past if he is to have any future. Marion Cotillard makes an outstanding spectre of vengeful rage.

Cillian Murphy puts in a magnificent turn and the film could easily have been turned upside down and turned into a study of his character. The other players all put in fine performances, though I’d grant that the characters do get a little thinner on the outer edge of the narrative. Although it does make me smile to see Tom Hardy playing a buffed-up Giles Coren!

My only problem with the film is that I find some of the dream logic unconvincing. Unlike The Matrix, the dreams on display are just that, lucid dreams. I ultimately find the peril waiting at the very bottom of the dream-cycle a little unconvincing intellectually, though it is a necessity for the narrative to function.