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| Courtesy of Warner Bros./Paramount |
But
thanks to the monstrous success of his Dark Knight trilogy, Nolan can walk
into a studio head’s office and have the audacity to say, “I want to make a $170
million drama that combines theoretical physics and the love a father has for
his daughter.” Instead of getting laughed out of the room, he gets instant
approval. Not that I’m complaining.
Interstellar
is the result of Nolan’s boldness, a flawed, yet fascinating blend of clinical
engineering and syrupy emotion. It’s Kubrickian sci-fi mixed with a cheesy
Hallmark card. That sounds like an unpalatable combo, but it’s incredibly
powerful in execution. Even the film’s many imperfections (which I can’t get
into as much as I’d like because of spoilers) are worth having long
conversations about.
The
plot (concocted by Nolan and his brother Jonathan) is way too convoluted to get
into here, so I’ll stick to the basics. Sometime in the near future – close
enough that people still dress in modern clothing and drive similar vehicles –
humanity is close to extinction because of dust storms and crop failure on a
global scale. Almost all occupations are obsolete, since most people have
become farmers to keep the food supply going for as long as possible.
Cooper
(Matthew McConaughey), a former NASA pilot, is no different. Following the
death of his wife, he devotes his time to growing corn and raising his two kids
instead of dreaming of space travel. That changes when he and his headstrong
daughter, Murph (initially played by Mackenzie Foy), discover that NASA has a
secret plan to save humanity by colonizing a planet located in a distant
galaxy.
The
project head (Michael Caine) believes Cooper is the perfect pilot for the
expedition, but the risky, long-range voyage means it might be decades before
he sees his children again – if he survives at all. Doing nothing means humanity
will only last another generation, so he and the rest of the crew (Anne
Hathaway, Wes Bentley and David Gyasi) head into the vast reaches of the
universe.
The
large-scale storytelling and practical effects contribute to the success of Interstellar, but the primary reason the film works is McConaughey’s earnest
portrayal of a man willing to sacrifice his relationship with his family in
order to save their lives. It’s one of the best performances of his career – a
bold statement, considering his work in Mud, Dallas Buyers Club and True Detective.
His heartbreaking reaction as he watches a bunch of video messages from Earth is
ample evidence that his recent Oscar win wasn’t a fluke.
Foy
matches McConaughey’s intensity in their scenes together, creating the film’s
most emotional moments. It’s tough for child actors to convey heartbreak or
immense sadness, mostly because of a lack of life experience, but it seems effortless
for her. Watching Murph run after Cooper’s truck as he drives away, possibly
forever, absolutely wrecked me.
The
rest of the performances are solid as well. Hathaway makes her character an
entertaining foil for Cooper in the film’s first half, and then believably
pivots to a trusted colleague later on. Caine is also good in a limited amount
of screen time, especially when the Nolan brothers reveal the complexity of his
role in the mission.
Some
of the film’s best work comes from Jessica Chastain, playing a character I’m
afraid of revealing. (At this point, I don’t know what constitutes a spoiler
and what doesn’t. But the info is easily accessible if you’re curious.) It’s
tough to show up halfway through a movie and ask the audience to immediately
invest in your character, but the actress is talented enough that I went with
it right away.
I’ve
always been more interested in people than special effects, but those flocking
to Interstellar for the visuals and sci-fi elements won’t be disappointed.
The complex science (based on contributions from theoretical physicist and
executive producer Kip Thorne) is surprisingly easy to follow thanks to
characters’ conversations. That’s especially true when Gyasi’s astronaut
explains the concept of wormholes to Cooper with good, old-fashioned pen and
paper.
Besides,
viewers who are still confused will figure it out when the characters actually
experience these hypothetical concepts in reality. At least until things start
getting a little wonky in the last half-hour. That’s when my biggest gripe with
the narrative pops up.
Nolan
completely blows it at the most critical moment: the resolution to the
Cooper/Murph relationship. Without getting into spoiler territory, it rings
totally false to me as the dad of a daughter I love more than life itself. I’ll
just say that no decent father – especially one who manages to transcend time
and space – would make the decision Cooper does in the film’s final moments,
even for the reason important reason the scene provides. It just wouldn’t
happen.
The
mishandled conclusion isn’t enough to ruin the whole experience, but it definitely
left a bad taste in my mouth. What’s especially disappointing is the movie runs
a whopping 169 minutes, yet Nolan feels the need to rush through the biggest
emotional payoff to get to a less-effective closing image.
The
director could’ve easily cut an earlier problematic subplot – which involves a
surprise A-list actor scuffling with Cooper on an inhospitable ice planet – in order
to focus on a much more vital scene. But, again, that’s coming from a guy who
values relationships above action sequences.
Overall, Interstellar is absolutely worth seeing on the biggest screen possible. I
recommend planning a day trip to see it at the Mall of Georgia, which boasts
the state’s only real IMAX theater. Just know that it’s not the Second Coming
of 2001: A Space Odyssey like many were unrealistically predicting and adjust
your expectations accordingly. It’s still a wonder to behold.
Interstellar
is rated PG-13 for some intense perilous action and brief strong language.
Grade:
B+
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