Sunday, July 12, 2015
Review: Interstellar (2014)
As with Inception, it is with the same sort of excitement you feel sitting down with an original science-fiction film, experiencing it for the first time, immersing yourself in a strange world, uncovering its mysteries, walking through someone else's imagination. If Inception is a ray of light, Interstellar is the dark shadow it casts, when that journey is not nearly as rewarding, where the visceral excitement is replaced with a brief grace period, followed by bitter curiosity. An objective autopsy. What went wrong here? Why don't I care enough about the characters or the mission? Why these narrative decisions: a watch, a bookcase, a crowbar, narration? Turns out love is the answer? PFFFFFFFFT. Nolan's weaknesses, the blunt statements of subtext vs. the barrage of dual narratives perform here at their worst. A shame, because the film is beautiful, the robots are cool, and Hans Zimmer is in top-form and injects actual excitement into an otherwise baffling sequence involving space madness and a sped-up docking sequence (the film's good scene). This and Inside Llewyn Davis made me think that the secret geniuses of all these movies are actually the cinematographers. I hope it's a coincidence because otherwise, this whole Following Directors thing is a total crapshoot. Yeah, c'mon, Soderbergh is his own cinematographer and that doesn't keep the quality of his films consistent. People are allowed to have bad days, bad years, and bad really expensive productions dedicated to an incredibly flawed script.