It’s taken me nearly a week to sit down and write a review for Christopher Nolan’s Interstellar. Normally this amount of procrastination would be because the film was just so damned awful. But not this time. This time it’s because Nolan has once again done a head trip on me. Luckily for me, I had read (but never fully come to grasp with some of the concepts) Joe Haldeman’s The Forever War a few years back, which prepared me for some of the concepts in Nolan’s new film.
Interstellar is at it’s heart a story about a father looking out for his daughter. It’s that simple at the core, but it’s wrapped up in more layers than an onion.
The Earth is dying. A global food shortage, caused by massive dust storms killing most types of crops, leaves the vastly reduced population scraping out an existence despite rapidly dissipating hope. But fear not, this is an American film, so NASA have a secret plan: get everyone off the planet, start a colony on another world beyond the stars, via a wormhole, revealed by a mysterious message from somewhere beyond deep space.
But NASA has a problem. Their best pilot isn’t the best pilot in the world. They need (or want) Cooper, a Pilot turned farmer, trying to do the best for his kids. So they send him a coded message, that his daughter finds, leading both of them to their secret lair. Cooper has to leave his daughter behind, with a promise to return before she is his current age.
But when black holes, gravitational anomalies, disturbances of space-time and time shifts are all factored in, it looks less and less likely that Cooper will be able to keep his promise.
Interstellar is equal parts mind blowing science, spectacular special effects and action sequences and emotionally gripping storyline. Matthew McConaughey is the start of the show, and leads the 169 minute epic in a fashion that seems to bend time itself, with the film not appearing overly long. He’s supported by Matt Damon in a surprising role, but the stand out character belongs to that of futuristic Marine robot, TARS.
TARS looks like he escaped from Minecraft, and at first looks so out of place that you fear Nolan has dropped the ball. But the robot’s character – and sense of humour – keep the film light enough be be entertaining.
The two things that do let down Interstellar is the overbearingly loud score, and the twist at the end is given away about two thirds of the way through the film. But these two minor niggles don’t lessen the impact of Nolan’s latest masterpiece, which is something you will definitely appreciate more on the big screen.
Rating: M Offensive language.