|Rating: The Good – 71.5
Genre: Science Fiction, Adventure
Duration: 169 mins
Director: Christopher Nolan
Stars: Matthew McConaughey, Michael Caine, Matt Damon
An elegantly directed sci-fi adventure considerably undermined by yet another painfully flat Nolan screenplay, Interstellar charts the epic attempts of a small group of scientists and astronauts to locate a planet capable of supporting the human race as its Earthly sustenance quickly dries up. Mathew McConaughey heads the cast as the mission’s pilot desperate to get back to the children he left behind before they age beyond the point where he can help them while Ann Hathaway’s stiffish scientist and a couple of nicely conceived robots keep him company on board the spacecraft. Back on Earth, Michael Caine is the brains behind the mission, Jessica Chastain is the grown up version of McConaughey’s equally clever daughter, and Casey Affleck is his son who, like the majority of remaining humans, is attempting to farm what’s left of their desertification-headed planet.
Regaining his 2008 Dark Knight directorial form, writer-director Christopher Nolan composes a quite beautiful and thrilling action thriller that achieves a perfect balance between mood and energy with no small help from Hans Zimmer’s sublime score. Making the deftest use of Hoyte Van Hoytema’s stark and striking cinematography, he avoids overplaying the CGI card keeping the story front and centre. The story isn’t bad either and, predictable as its key moments are, it serves Nolan’s grand ambitions for a Kubrickian like space epic. More the pity then that the screenplay does not. Bloated with expositional dialogue and artificial sentiment, it bungles its way towards a gargantuan mishandling of a straightforward (“save the world before it’s too late”) premise with the kind of overblown piece of psycho-physical drivel that plagued Inception. Co-penned with his more adept writer-brother (Jonathan sat Inception out), this script at least shows more restraint than that 2010 monument to tedium but not nearly enough to engender its protagonists nor their dilemmas with the depth and cadences that the premise deserved. The well conceived drama emerging from the astronauts ageing more slowly than their loved ones back home is an exception to this and proves to be the movie’s one successful appeal to the audience’s emotions.
Ultimately, the problem with Interstellar is yet again one of Nolan reaching beyond his capabilities by attempting to match the work of masters who simply operated at a level higher than his own (that’s not an insult Chris, most filmmakers toil in the shadows of Kubrick and Tarkovsky!). The innumerable references to 2001: A Space Odyssey eventually feel less like a homage and more like an attempt to disguise that failure, proving far more imitative than emulative. That said, the couple of HAL-inspired robots (the Bill Irwin-voiced “TARS” in particular) work fantastically within the confines of this story, coming alive in a whirl of mechanised motion during the best of the action sequences and adding most of the humour outside of them. And, thankfully, it’s these such lighter more grounded touches that sees Interstellar passing muster as a sci-fi thriller even while failing as an attempt at something more profound.