And no Best Director nomination? Sheesh.

Nolan got snubbed and all the Nominations it received for this years Oscars are mainly for technical categories. Not for Directing or editing nor did any of the actors get nominated.

So why should we be excited for this? Nolan should be pissed, Snub me once shame on you, snub me twice shame on me?

I really think every nomination it got was well-deserved!
The sound mixing and editing were a cut above a normal film because of the way they had to sync up with the music to help tell the story and orient the viewer.
The simple fact that they were able to use slow motion in a tasteful and logical manner deserves the cinematography nod.
VFX is pretty much a given. Folded Paris, anyone? Spinning hallway?
Art Design doesn’t seem quite that outstanding compared to something like Alice or Harry until you consider the way they managed to make each level distinctive enough that you immediately knew where you were, while each one was still in keeping with the overall look of the film.
Screenplay is almost as self explanatory as VFX. Managing to tell that complex a story while still examining the character of Cobb in a script compact enough to fit into 148 minutes (not short, but not too ridiculously long) is quite a feat. The only complaint I had with the script was that the third or fourth time around all the exposition seems a little forced, but I honestly can’t think of a way he could have improved that and still told the same story. And the exposition is split up enough that I still don’t get bored even after I know everything.
Best Picture is the only one where it feels like they might be apologizing for TDK, but on second though I don’t think that’s what the academy’s doing. I think they’re actually systematically trying to atone for ignoring the sci-fi genre in general, and to that end they’re nominating the best science fiction film each year even if they normally might not. District 9 last year was the start of it, and I would imagine it’s going to continue. Now that they have ten nominations, they feel that they can begin the process of deghettoization of animation and sci-fi without stepping on the toes of any big artistic films.

Best Score… Inception NEEDS to win for best score. I know the academy doesn’t like him, but they need to get over it. The Inception score is a work of genius. I’ve listened to the soundtrack at least twenty times now, and I still notice new things each time. You’ve probably seen the video where they compare the slowed down “Non je ne regrette rien” to the “Brauumm Brauummm”, right? (It’s here if you haven’t:
http://www.youtube.com/watch?v=Q2sD3QvwnjY ) Well, there’s stuff like that all throughout the score. “Dream is Collapsing”, when sped up, becomes the vamp under “Mombasa”. The long wavery vibratto sounds beneath “Waiting for a Train” are “Rien” slowed by a factor of twenty five (I think). But even without going into all the hidden clues and easter eggs, it’s damn fun to listen to as well, and it makes the movie a lot more awesome. So Academy – For your consideration…

Also, referencing the comment by dropzero: The Joker in TDK is a truly frightening character because, like many real terrorists, he has a specific agenda that he doesn’t necessarily need to explain to everyone. His obvious point is to keep people afraid and off guard. It’s scarier to blow up an empty hospital. It means he can do exactly what he wants. I love how he wasn’t given any flashbacks to “explain” his madness. We don’t get explanations in real life either.