Studio: Warner Bros.
Reviewed by: Ed Coke
Making plans to go see a movie for most people generally involves picking out an appealing title, trying to get to the theatre in time to get a good seat, and running back to the lobby for some pricey snacks before missing any previews. Often, finding a decent seat and picking the quickest moving queue at the concession is a roll of the dice, but deciding which film to see generally involves a certain amount of research and you essentially know what to expect when the lights dim and the curtains are pulled back.
Interstellar is a new feature-length film being released that has been shrouded in a fair amount of secrecy, and although the title itself reveals that the story orbits a space adventure premise, the depth of the plot and subject matter was not only literally but also figuratively out of this world, and far surpasses what anyone could realistically imagine. Helmed by big screen visionary Christopher Nolan and jam packed to the stratosphere with a perfectly chosen and A-list cast: Matthew McConaughey, Anne Hathaway and Sir Michael Caine, among others. Interstellar is not just another big budget sci-fi blockbuster desperate to sell tickets to cover its expenses, it’s a colossal piece of visual and sonic artwork that both challenges its audience’s perceptions of what should and what does drive us as a civilization, and also of what may lie beyond the final frontier of space and time.
The picture was ingeniously tailor made to be viewed (and heard) on IMAX (70mm), presenting a jaw dropping, “ooh” and “ahh” inspiring visual palate, along with a masterfully superb Hans Zimmer conducted score. Nolan once again enlists the top flight editing talents of Lee Smith who he worked with on The Dark Knight and Inception movies, allowing for an essentially seamless three hour adventure that follows McConaughey and his excellent supporting cast from the dustbowls of earth to the the edges of the known universe and beyond. With stylistic nods to other great sci-fi cinematic classics like 2001: A Space Odyssey and Star Wars, Interstellar succeeds in adding itself near the top of a list of the most revolutionary and ambitious films ever made.
The timing of the movie’s release seems to have fallen in line perfectly with what’s going on in the real world, following the recent trials and fails of the space tourist industry and hot off the press UN reports on climate change, the conspiracy theorist in me almost feels like the MSM is secretly promoting its box office unveiling, however this just goes to show how crucial and pertinent of a picture it really is. I was also impressed at how without becoming preachy or condescending to mainstream society’s certain lack of knowledge about the difficult and even abstract technical concepts it explores, Interstellar succeeds where you would expect it to falter; revealing characters and a story that navigates a full spectrum of emotions and experiences in a not too distant or unimaginable future. Fuelled by the works of Kip Thorne (one of the world’s most respected minds on the subject of astrophysics), the film provides a plausible story that brings humanity to the unknown and will have moviegoers leaving the theatre looking both towards the stars with wonder and at their own place on Earth.