Christopher Nolan's last directorial release, The Dark Knight Rises, was well-received by the movie-going public on top of being a monster at the box office. It was generally seen as a great closing chapter for his Batman trilogy by both devoted film fans and critics. However, a portion of each felt the final product's reach was far too ambitious for its actual grasp. The newly released sci-fi space travel spectacular desires to be both gargantuan in scope, both rationally and thematically , ensuring to create another divided sect of opinion.
Interstellar continuously succeeds at a rate far more frequent to any lag or friction this trip may encounter as a viewing experience. Nolan puts his efforts into the realm of cosmic travel with the anticipated approach to realism that provides an experience, wonderfully compounding the indifference of the known universe with bonds of love and sentimentality. As expected, Nolan finds reliable thespians to bring his characters to life; we know by now that Matthew McCouaghney is a more than capable Oscar-winning actor. Envisioning a better guy to portray astronaut, engineer & farmer Cooper is an exercise in futility and will once again get rumblings at Awards Season. His relationship with young daughter Murph (Mackenzie Foy) gives the story justifiable reason to invest in the family amidst an accelerated near future in which food supply, air quality and the advancement of the human race is nearing crisis mode.
The first act of the film establishes an America whose infrastructures have shifted towards that of necessity, agricultural production and ensuring survivorship. Political and international conflict, educational advancement and discovery are suppressed in favor of production and the maintenance of our species, bringing Cooper and Murph to stumble upon a recluse version of NASA. Here doctor-astronaut Brand (Anne Hathaway) and her physicist father (Michael Caine) convey the urgency in directing limited resources to space, to find a future for Earth's humans.
The skill of paying due respect to physical scientific principles that govern the entire universe with a tale of ambitious, harrowing circumstances is one few filmmakers can make work. Those involved with the art of bringing a calculated journey to life with the dire tone of rationality and desperation render Interstellar a standout. Included cinematic themes have been done before in many prior science fiction stories but what makes this entry extraordinary is that viewers with even a rudimentary understanding of the cosmos, its overwhelmingly vast and uncaring nature will almost tangibly feel the tension and gravity during astronautical flights of the Lazarus missions.
The beauty that lie above Earth's stratosphere was conveyed with excitement and amazingly authentic cinematography (launch sequence, anyone?). There is awe in fully realizing what this film wants to tell us and show us- this thought well represented by accurately showing a soundless atmosphere, an intimidating silence. Concepts like relativity and the fabric of space time are utilized within the film's structure to create heightened dramatic situations and emotional resonance while Nolan also pays respect to abstract films of grandeur such as Stanley Kubrick's 2001: A Space Odyssey. The influences were clear; the similar monolithic design of onboard artificial intelligence module TARS, extreme scale-revealing long shots of space travel, dimensional transcendence and Cooper's version of the 'Stargate Sequence,' from Kubrick's philosophical classic.
Despite a couple of ham-fisted messages and ideas, particularly from Brand, this film accomplishes an ambitious approach to narratives that have commonly been represented in the science fiction genre- terraforming suitable environments for mankind's relocation, hyperbaric hibernation, and objectivity clashing with humanly preference, among many others. The resolution may feel convenient to some but after paying ample respect to space science and quantum reality, some artistic licensing was welcomed as it sewed up developments early in the script with a very memorable representation within one of science's most heralded curiosities- the nature of back holes. Encountering the climax with chilling, mind-blowing metaphysical imagery brought the experience of a desperate father's sacrifice to space to a very soulful conclusion.
Supporting actors Jessica Chastain, John Lithgow, Casey Affleck, Anne Hathaway and Nolan's regular good luck charm Michael Caine provide for believable iterations of actual people in the predicament they have been placed in. An unstable Matt Damon cameo may have divided fans talking, as his appearance creates its own sequence of events. The technicality of Interstellar-both in script as well as execution in production is more than admirable. A big screen watch greatly enhances the affect this is likely to have on a fan. Nolan's newest work, a genre specific sci-fi is grounded in actual physical dimensions of natural surrounding as well as expanding the artistic idea of our species' perceptions-what we know, what we were meant to know and what we will ever know. This is one of the more memorable journeys viewers are likely to have if they have a piqued interest into the scale and ambiguity of diverse galaxies.
Roc's Rating- 8.8/10