It would have to be a constant dull pain to exist as Christopher Nolan. To have a large scale, smart idea, and a unique enough film making skill set to pull it off, only to see a major studio smear little dabs of it’s own shit here and there, just enough to take the edge right off.
Interstellar isn’t a bad movie in the vein of the clodhopping Prometheus, there are moments of awe, of spectacle, and there are some sincere things to appreciate about it. Among it’s flaws, the beginning doesn’t really draw you in like it should. The first fifth of the story is choppy, disjointed, and just downright uncinematic. A different set of gears are explored once the story moves to space, as there is a pace and rhythm to the film that picks up significantly. While there are elements of spectacle and awe to take in along the way, none of it constitutes of enough substance to take in upon repeated viewing or even make mention of as a recommendation. Now sure, you can say that you’ve seen Interstellar so that you are able to air on the right side of cool, however you’ll soon be searching your memory banks for something positive and exciting to leave your partner in conversation with.
“Yeah, there was, a lot of space in that movie”
The main flaw of Interstellar is that it replaces the dynamic thrill riding,mind bending aspect of sci-fi with a story of relationships that we may or may not care about. Those very relationships make Interstellar a marketable, relateable film for the studio to back, it’s just that no one was ever clamoring for a sweet, caring, sci-fi date movie. We live in an comic book movie world, like it or not, and if you’re going to make this movie and tell this story, you’re either going to have to make if fun and poppy like the Avengers,or dreary, serious, and thoughtful like Children of Men, to pull it off right.
Praise goes out to Matthew McConaughey for his restrained, almost subtle performance. Taking into consideration how over the top some of his body of work is at times, he could have been very cartoon like in a space thriller, and fortunately he chose another route. Director Christopher Nolan puts together some moments of true cinema here and there, he jabs and jabs without really dazzling us in the way you think he might be capable of. Another thing working against him is an overwrought, bombastic soundtrack by Hans Zimmer. A little bit of witchy sounding organ music would have played well, however, Hans pumps the volume of the organ up to eleven, and clobbers us with strings upon strings upon strings. If he were conducting forty five cellos, it certainly sounded like forty six.
Although Interstellar isn’t as smart, or as dynamic as the previews would have you believe, its is everything a major studio could possibly promise, and that’s a palpable bit of escapism.