Interstellar is the latest film from critically acclaimed auteur Christopher Nolan, and just like every one of his films before, it doesn’t disappoint.
Interstellar revives the haunting atmosphere of sci-fi classics such as 2001: A Space Odyssey, but with stunningly simple visuals and a wonderful Nolan-esque perspective on several deep fascinating questions.
The film opens to the dusty diseased plains of Earth as the last generation of humanity struggles to survive. Matthew McConaughey plays Cooper, a former NASA pilot, who is tasked with finding a new home amongst the stars, a journey that will take him years to accomplish but the effects of time dilation mean that even longer will have passed for his family back on Earth.
As Cooper explores wormholes, black holes, and bizarre new worlds, his daughter Murph (Jessica Chastain) grows up alone on a dying Earth hoping that her father will return one day and save them all. The parallel stories of Cooper and Murph are heartbreaking, but also incredibly beautiful journeys through time and space.
As has become his trademark, Nolan delivers a brilliantly formed and engrossing film with a bit of an odd touch. We get some great comic relief from robots TARS and CASE, however, the downside is that no one actor really shines due to the restricting characters that simply act as vessels for the film’s plot. It feels like a bit of a waste of some truly fantastic actors, especially Chastain and McConaughey, but it doesn’t take much away as the story itself remains riveting.
Interstellar may have its flaws and I won’t say that this is Nolan’s greatest film to date, but it is certainly a worthy piece of his already astounding filmography. The influences from 2001 are obvious, but it stands on its own as an important film in the genre. With the arrival of Moon, Gravity, and now Interstellar we’re beginning to see a glorious return to the slow and thought provoking roots of science fiction.