After Inception and the Dark Knight Trilogy, Christopher Nolan brings forth his latest feature film.
Interstellar is many things, but one thing it isn’t is vapid.
The film initially focuses around single father Cooper (Matthew McConaughey) and his two children, Murphy and Tom. The earth is on the verge of extinction, and after discovering NASA still exists, Cooper is invited to take the journey of a lifetime to save the human race.
Interstellar succeeds in many areas greatly. Its ensemble cast is nothing short of fantastic. The limitless scale of the film only increases the intensely intimate storytelling – providing a sharp juxtaposition. Its Nolan at his most metaphoric.
Even miles, light-years, and galaxies away, Cooper’s conflict is that of internal strife and longing for his family – a semi-autobiographical take on Nolan’s own life as a filmmaker within the upper echelon of Hollywood.
Deepening the already intimate touch to the film is an exemplary score from Hans Zimmer. He applies humanity to even the most fantastical science fiction scenes in the film.
Finally, the visuals were superb. Shot in IMAX, the film takes its audience off of Earth’s surface and into the great unknown.
While the many positives of the film may make it a compelling watch, it is undeniably very flawed.
The main issue is that the film is too ambitious for its own good. Resembling a film as complicated as 2001, Interstellar‘s final act is tough to digest, as Cooper floats in the abyss of space. It’s overcomplicated and an unnecessary addition to an already rich story. The plot suddenly becomes more of a task than a vehicle for driving forward the narrative.
Interstellar is a step in the right direction as far as visual effects, score, and performances go, but its convoluted storyline may prove to be too tedious for some audience members to fully enjoy. That said, Nolan’s familial approach and emotional outpour add a layer of devotion that is lacking in most space adventures today.