Most Rewatchable Scene
The snow fortress heist; the Paris training scene with Ariadne; the zero-gravity hotel corridor fight
In the discussion (7)
Approx. transcript time · 00:13:29Read transcript
- The pick is hard because the set pieces are interthreaded in a dreamlike way; the candidates laid out are the ski heist three dreams down, the hotel heist two down, the Los Angeles rain heist, the training scenes with Ariadne that explain the movie, and the heartbreaking Dom and Mal scenes in limbo.
- The Cobb and Mal scenes, whether the elevator memories or the limbo train reveal, are the most emotionally gripping, but for sheer captivating rewatchability it is the snow scene where every single thing is white, with the good guys distinguished from the bad only by a light dusting of gray on their outfits and even the guns wrapped in gauze or painted white. — Mallory Rubin
- The avalanche and the rope trick are extremely fun, and although the snow heist lacks the emotional weight of other scenes it feels like a relief at that point in a movie that asks you to track so much; the color choices are tied to Nolan being colorblind, with little red or green and everything slate, night or pure white.
- The snow heist has some of the film's only humor: after the missed first kick there is Cillian Murphy's line about dreaming up a beach next time, and Tom Hardy gives a thumbs-up after throwing an explosive onto a truck; the same scene also has the most moments that make no sense, like staring at the explosive for forty-five seconds, while Leo's perfect sniping is excused because it is a dream.
- The training scene in Paris, or dream Paris, in the cafe is pretty incredible. — Andrew Gruttadaro
- Watching the cafe scene again, the moment when Cobb's question of how they got there arrives still lands because the viewer realizes they do not know either, which is called a masterful thing to do, as is his explanation of how the dreams operate.
- The zero-gravity fight scenes hold up really well; A.O. Scott's review compared the film to The Dark Knight and was dubious of Nolan, as this host is, but Nolan has built a career on being arguably the best at set pieces that make you say oh shit, like the truck flip in The Dark Knight, and there is no sense of how he pulled off Joseph Gordon-Levitt sliding up the ceiling like a spider. — Sean Fennessey